In the last quarter of 2021 a virtual celebration of folk expression and Intangible cultural heritage was organised by Manipal Academy of Higher Education and Deakin University in association with Association Nationale Cultures Du Monde (ANCM), France, International Dance Council (TBC), Indian Consulate, Melbourne (TBC), ICCR, Bangalore, Mythic Society, Bangalore and Karnataka Chalanachitra Academy, Bangalore. It was curated by Dr Vikrant Kishore, Dr Shubha HS and Shreeraj Gudi.
The festival was an attempt to create to celebrate, educate and create awareness about the need for preservation of cultural heritage. The concept for the theme for this issue came out of this festival.
Folklore generally refers to cultural expressions, such as narratives, jokes, beliefs, proverbs, legends, myths, music, songs, dances, costumes, food, and festivals, through which individuals and groups shape and disseminate a shared identity. (Sanja Magdalenić,2008) The folk expressions through music, dance and performance reflect the oral tradition of a community, its revolves around the identity of the community. It is passed on from generation to generation. Folklore during the early days were identified with peasants and rural society or groups. They were regarded as the main carriers of the tradition. The folk traditions are slowly dying out due to industrialisation and urbanisation.
The contemporary concepts of folklore refer to “folk “any group of people, who share common ground such as occupation, language, religion or ethnicity. (Barbro Kein,2015) With colonialization the folklore was ascribed a low status. Over the years, folklore has emerged as an area of study. The role of folklore in enhancing cultural diversity and identity has gained recognition. Migration has dispersed communities across geographical boundaries leading to the disappearance of some forms. The influence of popular culture on the masses is another aspect that needs attention.
Some of the folk content online has eye-catching vernacular content. The hybridisation of oral and electronic transmission has benefitted in the amalgamation of tradition, innovation and adaptation of folk culture across face-to-face and digital arenas. Caution needs to be exercised in order to maintain authenticity of the form on digital platforms and oral tradition as well.
I wish to place on records the cooperation that we have received from all the authors in bringing out this volume.
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