{"id":6935,"date":"2025-04-24T06:48:48","date_gmt":"2025-04-24T06:48:48","guid":{"rendered":"https:\/\/worldarchaeologicalcongress.com\/wac10\/?page_id=6935"},"modified":"2025-04-25T01:02:36","modified_gmt":"2025-04-25T01:02:36","slug":"t14-s03-papers","status":"publish","type":"page","link":"https:\/\/worldarchaeologicalcongress.com\/wac10\/t14-s03-papers\/","title":{"rendered":"T14\/S03: Folk Culture, Myth, Practices, Vernacular Architecture and Art History: Journey Through the Ages"},"content":{"rendered":"\n

Format: Paper presentations with discussion<\/strong><\/p>\n\n\n\n

Convenors<\/strong>:\u00a0<\/p>\n\n\n\n

Anura Manatunga, Department of Archaeology, University of Kelaniya, Sri Lanka,\u00a0am@kln.ac.lk<\/a><\/p>\n\n\n\n

Munmun Mondal, Department of History, Lovely Professional University , Punjab, India
munmun2024@rediffmail.com<\/a><\/p>\n\n\n\n

Subhash Chandra Yadav, Regional Archaeological Officer, U. P. State Archaeology Department, Government of Uttar Pradesh, India, subheverest@gmail.com<\/a><\/p>\n\n\n\n

This session weaves together various aspects of human civilisation and cultural evolution from time immemorial. Each component makes its own versatile contribution to the growth of a society in a different way. Folk culture refers to the traditions, customs, and rituals passed down through generations within a community with its oral traditions, festivals, rituals, music and crafts, while its practices encompass the daily activities, customs and beliefs that characterise a community\u2019s way of life. At the same time, vernacular architecture\u2014the traditional buildings and structures designed and constructed based on local needs, materials, traditions and functionality\u2014varies from one place to another, depending upon the climate, geological conditions, production technology and habitational characteristics. <\/p>\n\n\n\n

Over time, with global impact, Indigenous peoples have tried to protect and continue their culture and artistic expressions, despite challenges. This helps us to record these tangible and intangible heritages for future generations. This session proposes to throw light on the Indigenous and regional folk cultures, practices, folklore, beliefs, vernacular architecture and art of communities across the globe, considering both changes and advances in this field.<\/p>\n\n\n\n

Papers:<\/h2>\n\n\n\n

Utilising Digital Platforms to Safeguard Folk Traditions in South Asia: Special Reference to Sri Lanka and India<\/strong><\/p>\n\n\n\n

Kamani Perera,\u00a0Manager, Research and Development,\u00a0Chartered Institute of Personnel Management, Sri Lanka<\/em>
Heather Fernando, Sanasa Bank, Sri Lanka<\/em>
N. Meeramani, Librarian, Jain (Deemed to be University), Bangalore, India<\/em><\/p>\n\n\n\n

Folk traditions were developed and preserved centuries ago by the local communities and Indigenous people to enable their survival on Earth. Those are collective in nature and can be treated as a possession of the whole community, not the property of a single individual within the community and are very rarely expressed in the written form or in any formal way. They are transmitted orally through practice as a living heritage by elders to only a few people within the community. This unique nature of folk traditions does not decrease their value. It is very important to integrate folk traditions with modern technological tools, as they play a significant role in the designing, handling, decision making of the sustainable development projects in developing countries. Preservation and documentation of folk traditions have become more comfortable with the emergence of social media tools, such as Facebook, YouTube, and Instagram, which play a dynamic role and act as an effective medium, not only for preserving and documentation, but also for exchange, revitalisation, continuous practice, and learning of folk traditions beyond South Asia. This research provides significant perspectives on the various digital platforms that support and conserve folk customs and cultural legacies in Sri Lanka and India.<\/p>\n\n\n\n

Integrating Archaeology, Oral History and GIS: A Case Study from Kachchh, Gujarat, India<\/strong><\/p>\n\n\n\n

Prabodh Shirvalkar, Dept of AIHC & Archaeology, Deccan College Post Graduate and Research Institute, Pune, India<\/em>
Esha Prasad, Symbiosis School for Liberal Arts, Symbiosis International (Deemed University), Pune, India<\/em>
Y.S. Rawat, Archaeological Survey of India, New Delhi, India\u00a0<\/em><\/p>\n\n\n\n

The paper is a multidisciplinary approach that brings together archaeology, oral history, and GIS. Archaeologists have often used oral history as a tool to understand historically significant events, chronology, cultural affiliation, and how people perceive archaeological settlements and their realities. The use of GIS within archaeology led to new methodologies through which archaeological data could be studied and analysed not just in the context of the location of the site but also its immediate surroundings. The present paper deals with medieval settlements found in the Kachchh region, and their association with oral history, especially the legend of Jakh. It further delves into the use of oral history to understand chronology, but at the same time uses GIS to validate the oral history. The use of GIS helped understand the relationship between the various settlements of Jakh, and their movement. Moreover, the region, along with its festivals and religious architecture, also shows the importance of the oral history associated with the Jakhs.<\/p>\n\n\n\n

The Parai Drum of South India: An Indigenous Music Instrument and its Multiple Roles in Historical and Ethnographic Perspective<\/strong><\/p>\n\n\n\n

M. Gnanamoorthi, Dept of Maritime History & Marine Archaeology, Tamil University, India<\/em><\/p>\n\n\n\n

Parai is a music drum used in South India from the early historic period. The drum is now used mainly by the community of Paraiyars, who are one of the Indigenous populations of India. In the early period Parai was used to motivate warriors in battle, to announce royal proclamations and for communicating messages to the people. This paper looks into the multiple roles of Parai drums in the historical period. Using an ethnographic approach it documents the manufacturing process. It is made with raw material such as calf skin, mango or jackfruit tree wood, tamarind seeds and ash. Based on context, Parai performance and beating also change during cultural phenomena, such as funeral and ritual practice. Tamil literature mentions various drumsm such as Thondaka Parai, Karangu Parai, kudapparai or Panri (Boar) Parai, and Adukala Parai. This research focuses on Parai making methods.<\/p>\n\n\n\n

Changing Dynamics and Cultural Study of Folk Culture as Reflected in the Madhubani Paintings: A Living Folk Art of Mithila, Bihar (India)<\/strong><\/p>\n\n\n\n

Anita Devi, Research Scholar, Dept of Ancient Indian History, Culture & Archaeology, Banaras Hindu University, Varanasi, India<\/em>
Vinay Kumar, Associate Professor, Dept of Ancient Indian History, Culture & Archaeology, Banaras Hindu University, Varanasi, India<\/em>
Kasun S. Jayasuriya, Dept of Ancient Indian History, Culture & Archaeology, Banaras Hindu University, Varanasi, India<\/em><\/p>\n\n\n\n

India has inherited a rich culture that is reflected in the folk art of different religions, sects and beliefs that have co-existed throughout Indian traditional life. Cults like Tantra Shakti, Vaishnav and Buddhist are very important in the life of folk artists. The innovation of folk artists to experiment with new forms is to be found in the motif of Madhubani paintings of the Mithila region.<\/p>\n\n\n\n

The origin of Mithila art is not known yet, but it can be traced to the time of Ramayana, when King Janak ordered to decorate the town, Mithila, in the happiness of his daughter, Sita\u2019s, marriage to Lord Rama. The ancient art of Bhitti-Chitra or wall paintings played a vital role in the emergence of this new art form. The original art form of this painting is inspired from the cravenness of women in their religious beliefs and began with paintings of Gods and Goddesses. In the present time, it is painted on canvas, hand-made paper or cloth, but in the ancient time it was done on the floors of the huts and fleshly plastered walls. The art has combined both traditional and contemporary themes and been transferred to apparel, upholstery, tableware and sold as artwork for modern homes and interiors. Novel themes have found a place in the art to give it a new appeal.<\/p>\n\n\n\n

The present paper traces the historical journey of this unique art-form, that of the painting of walls, floor-spaces and on the medium of paper, of Madhubani painting, referring to the place from where it became famous from the region of Mithila in North Bihar and its changing dynamics today.<\/p>\n\n\n\n

Embedded Folk Culture in Monastic Architecture of Vadnagar and Devnimori<\/strong><\/p>\n\n\n\n

Vinay Kumar, Associate Professor, Dept of Ancient Indian History, Culture & Archaeology, Banaras Hindu University, Varanasi, India<\/em>
Kasun S. Jayasuriya, Dept of Ancient Indian History, Culture & Archaeology, Banaras Hindu University, Varanasi, India<\/em><\/p>\n\n\n\n

This research explores the integration of folk cultural elements in the Buddhist monastic architecture of Vadnagar and Devnimori, key archaeological sites in Gujarat, India, dating from the early centuries CE. Excavations reveal that these monasteries, strategically located along historic trade routes, incorporated regional folk motifs and iconography, providing insight into the social fabric of ancient communities. Through architectural analysis, this research examines the presence of local artistic traditions within the design of stupas, viharas, and decorative carvings, highlighting depictions of flora, fauna, and agrarian symbols reflective of local life. These motifs illustrate how folk beliefs were woven into Buddhist spaces, creating a visual language that resonated with the local populace, while reinforcing Buddhist teachings. Employing stratigraphic data and comparative iconography, this study demonstrates that the Buddhist monastic architecture of Vadnagar and Devnimori was not isolated from surrounding cultural landscapes but deeply intertwined with them. The findings underscore the monasteries\u2019 dual role as centres for spiritual practice and as repositories for cultural memory, fostering a unique synthesis of folk and religious traditions. This research contributes to our understanding of how regional identities and vernacular expressions shaped Buddhist monastic spaces, offering a new perspective on cultural continuity in ancient South Asian archaeology.<\/p>\n\n\n\n

The Unexplored Tangible Aspects of Continuity and Changes Within the Nicobarese Tribe<\/strong><\/p>\n\n\n\n

Snigdha Paul, Master of Arts in History, Lovely Professional University, Punjab, India<\/em>
Munmun Mondal, Dept of History, Lovely Professional University, Punjab, India<\/em><\/p>\n\n\n\n

The Nicobarese tribe, native to the remote Andaman and Nicobar Islands, is a living example of a community that has preserved its heritage in the face of rapid change. This paper explores the Nicobarese lifestyle, highlighting their rich oral storytelling, spiritual beliefs, daily practices, architecture, food, and artistic expressions. Oral traditions remain central, with legends and myths that offer insights into their worldview and historical experiences. Deeply connected to nature, their spiritual beliefs emphasise respect for the environment and ancestral spirits. Their occupation in farming, fishing, and food preparation and focusing on local resources like coconut, fish, and yams demonstrate sustainable living. Nicobarese houses, built on stilts with materials from the islands, show their skill in adapting to the tropical environment. Art, music, dance, and crafts are central to their identity, often carrying deeper meanings that strengthen their sense of community. This study aims to highlight these traditions, showing how the Nicobarese culture has adapted to modern times while keeping its roots strong. Art and performance, including traditional dance and crafts, are vital to their cultural identity, reinforcing communal ties and passing down heritage, cultural elements, showcasing the ways the Nicobarese have preserved their traditions while engaging with modernity. Through this research, the goal is to bring attention to the value of indigenous knowledge and its relevance in a rapidly changing world.<\/p>\n\n\n\n

From Stone to Story: Exploring Rijal Almaa’s Significance and Pathway to UNESCO World Heritage Status<\/strong><\/p>\n\n\n\n

Heba Khairy Metwaly,<\/em> Curator, Grand Egyptian Museum, Egyptian Ministry for Tourism and Antiquities<\/em><\/p>\n\n\n\n

Rijal Almaa Heritage Village, located in the Asir region of southern Saudi Arabia, is a striking example of traditional architecture and cultural heritage. This study explores Rijal Almaa as a commemorative landmark, reflecting the rich history, social structures, and local customs of the region. The village, renowned for its well-preserved stone buildings and intricate carvings, offers valuable insights into the region\u2019s historical, political, and religious significance.<\/p>\n\n\n\n

The research emphasises the need for comprehensive conservation and documentation efforts to safeguard Rijal Almaa\u2019s unique heritage, including architectural surveys, 3D mapping, and ongoing excavation projects. By integrating sustainable tourism practices, the village can be transformed into a living heritage site, fostering both local pride and international awareness.<\/p>\n\n\n\n

The study also proposes the development of virtual exhibitions to expand global access to Rijal Almaa\u2019s cultural legacy, making its stories of resilience, craftsmanship, and community accessible to a wider audience. Additionally, the research explores the potential for nominating Rijal Almaa for UNESCO World Heritage status, underscoring its significance as a symbol of Saudi Arabia\u2019s rich cultural identity.<\/p>\n\n\n\n

Through this study, the role of museums, both physical and digital, is highlighted as essential in preserving and sharing the village\u2019s history, ensuring that Rijal Almaa\u2019s legacy continues to resonate with future generations.<\/p>\n\n\n\n

Contemporary Artistic Tradition of Central Indian Tribes and Its Relation to Prehistoric Rock Art<\/strong><\/p>\n\n\n\n

Dr Nidhi Pandey<\/em><\/p>\n\n\n\n

From the tribal point of view, the Central Indian Land is full of culture and art. Each tribal group has its distinct identity, culture, and traditions, gradually developing over thousands of years. Many tribal groups, such as Bhil, Gond, Kol, Korku, Saheria, Baiga, Bharia, Saur, Pardhan, Panika, Khairwar, Agaria, Oraon, Kanwar, and Binjhwar, still exist in their traditional form. These groups have an unwavering attachment to their culture. For these reasons, the continuity of ancient art and tradition is still seen in their daily activities, which makes ethnographical study necessary. A wide range of rock paintings from prehistoric times are situated in the Central region. Information about the human culture, environment, and nature of that period is obtained by studying the paintings of rock shelters. In the absence of script, these rock paintings are a mirror of the inner consciousness of humans; these rock paintings are a link to knowing prehistoric societies. This study is an archaeological attempt to show the continuity of ancient tradition and culture in Central India based on rock paintings obtained through ethnography.<\/p>\n\n\n\n

Monastic Dances of the Himalayas: Exploring the Cham and Charya Nritya<\/strong><\/p>\n\n\n\n

Prof. Arpita Chatterjee, Banaras Hindu University, Varanasi, India<\/em>
Prakhar Srivastav, Research Scholar, Banaras Hindu University, Varanasi, India<\/em><\/p>\n\n\n\n

Performing arts, particularly dance and music, have played a crucial role in the religious and ritualistic practices of Buddhism. Initially, Buddhist monasticism prohibited such activities, but with the rise of Bhakti, music and dance became integral to Buddhist liturgy, especially in Vajrayana and Sahajayana traditions. Charyapada, a collection of mystical poems from the 8th to 12th centuries, embodies this transformation. Over time, Buddhist monasteries developed distinct dance forms, with Cham and Charya Nritya being the most prominent. Cham, originating in Tibetan monasteries around 1300 years ago, aims to ward off evil and narrates ancient legends. Various Cham dances, such as the black hat and skeleton dances, are practiced in the Himalayan regions of India, Bhutan, and Nepal. Charya Nritya, a spiritual dance from Vajrayana Buddhism, originated in Eastern India and later flourished in Nepal. It involves hand gestures, chanting, and meditation, focusing on deities with movements that reflect compassion and wrath. Both dance forms are central to spiritual practices, emphasizing moral teachings and reflecting regional culture. This paper examines the origins, evolution, and cultural significance of these monastic dances, exploring their enduring presence and influence within the folk traditions of the Middle Eastern Himalayas.<\/p>\n\n\n\n

Myths and Religious Practice of Pre-Colonial Mizo<\/strong><\/p>\n\n\n\n

H.K.V.L. Hmangaihzuali, Dept of History, Lovely Professional University, Punjab, India<\/em>
Munmum Mondal, Dept of History, Lovely Professional University, Punjab, India<\/em><\/p>\n\n\n\n

This paper highlights the religious practice and myth of the people of Mizoram, a Tibeto-Burman ethnic group in a state in northeastern India and how this shaped the Mizo people in their daily life in pre-colonial Mizo. Shedding light on the deeply ingrained spiritual beliefs that shaped their cultural identity, the Mizo worldview was primarily animalistic, with a pantheon of gods and spirits governing various aspect of nature and human existence. Central to Mizo religious life were rituals led by puithiam (priests) or sadawt (shaman) aimed at appeasing these spirits to ensure prosperity and harmony within the community. Ancestor worship was a key practice, emphasising the belief that the spirit of the ancestor influenced daily life. The paper examines the role of myths and reinforcing clan structure societal norms and shared values, while highlighting the importance of festivals and divination practices. By analysing these elements, the paper underscores the integral role of religion and myth in shaping pre-colonial Mizo society, offering insights into the cultural and spiritual foundations that defined their way of life before colonial influence.<\/p>\n\n\n\n

The Zawlbuk<\/strong><\/p>\n\n\n\n

Vanlalhlui, Dept of History, Lovely Professional University, Punjab, India<\/em>
Munmum Mondal, Dept of History, Lovely Professional University, Punjab, India<\/em><\/p>\n\n\n\n

The Zawlbuk, a traditional Mizo institution, was a pivotal element of the Mizo social and cultural framework. Serving as a communal bachelor’s dormitory, it was not only a place for young unmarried men to reside, but also a hub for learning, discipline, and safeguarding the village. The Zawlbuk played a crucial role in instilling values such as courage, responsibility, and community service. It also served as a platform for transmitting oral traditions, folklore, and practical skills like hunting, agriculture, and warfare. Functioning as a social and administrative centre, it symbolised the collective spirit of Mizo society. With the advent of modernisation and the influence of external cultures, the significance of the Zawlbuk diminished, yet its legacy endures in the Mizo cultural consciousness, representing unity, education, and the traditional way of life. This paper explores the historical importance, societal roles, and cultural impact of the Zawlbuk in shaping Mizo society.<\/p>\n\n\n\n

Honouring Valour: The Legacy of Odisha’s Memorial Stones in India’s Heritage<\/strong><\/p>\n\n\n\n

Dr Nalinikanta Rana, Dept of History, Maa Manikeshwari University, Kalahandi, Odisha, India<\/em><\/p>\n\n\n\n

Hero stones, also known as memorial stones, serve as significant cultural and historical artefacts across diverse regions of India, commemorating individuals who died valiantly in battles, during encounters with wildlife, or while protecting others or livestock. Known by various names, these stones are specifically termed Vira Shila in Odisha. The tradition of erecting hero stones dates back to ancient times, with references found in Vedic texts, such as Satapatha Brahmana, and Sangam Period literature, like Ahananuru and Purananuru. <\/p>\n\n\n\n

The origin of hero stones remains obscure, potentially deriving from the menhirs of the megalithic cultures in India of the first millennium BC (Thaper 1981). Their distribution is neither geographically uniform nor arbitrary, with larger numbers found in western India (Rajasthan, Gujarat, and Maharashtra), central India (Madhya Pradesh and the southern edges of the Ganges valley), and south India (Andhra Pradesh, Karnataka, Kerala, and Tamil Nadu) (Settar and Sontheimer 1982). Northern and eastern India generally register fewer examples. However, Odisha, as an eastern state, has documented over 300 hero stones across various districts.<\/p>\n\n\n\n

This research highlights the cultural and historical significance of Odisha’s hero stones within India’s broader heritage. These stones not only commemorate individual acts of bravery but also serve as enduring symbols of community pride and cultural identity, underscoring the need for their documentation and conservation. Through a detailed examination of these memorials, the study aims to contribute to the understanding and preservation of India’s rich historical legacy.<\/p>\n","protected":false},"excerpt":{"rendered":"

Format: Paper presentations with discussion Convenors:\u00a0 Anura Manatunga, Department of Archaeology, University of Kelaniya, Sri Lanka,\u00a0am@kln.ac.lk Munmun Mondal, Department of History, Lovely Professional University , Punjab, Indiamunmun2024@rediffmail.com Subhash Chandra Yadav, Regional Archaeological Officer, U. P. State Archaeology Department, Government of Uttar Pradesh, India, subheverest@gmail.com This session weaves together various aspects of human civilisation and cultural evolution from […]<\/p>\n","protected":false},"author":1157,"featured_media":276,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"pmpro_default_level":"","ngg_post_thumbnail":0,"footnotes":""},"class_list":{"0":"post-6935","1":"page","2":"type-page","3":"status-publish","4":"has-post-thumbnail","6":"pmpro-has-access","7":"czr-hentry"},"_links":{"self":[{"href":"https:\/\/worldarchaeologicalcongress.com\/wac10\/wp-json\/wp\/v2\/pages\/6935","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/worldarchaeologicalcongress.com\/wac10\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/worldarchaeologicalcongress.com\/wac10\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/worldarchaeologicalcongress.com\/wac10\/wp-json\/wp\/v2\/users\/1157"}],"replies":[{"embeddable":true,"href":"https:\/\/worldarchaeologicalcongress.com\/wac10\/wp-json\/wp\/v2\/comments?post=6935"}],"version-history":[{"count":3,"href":"https:\/\/worldarchaeologicalcongress.com\/wac10\/wp-json\/wp\/v2\/pages\/6935\/revisions"}],"predecessor-version":[{"id":7413,"href":"https:\/\/worldarchaeologicalcongress.com\/wac10\/wp-json\/wp\/v2\/pages\/6935\/revisions\/7413"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/worldarchaeologicalcongress.com\/wac10\/wp-json\/wp\/v2\/media\/276"}],"wp:attachment":[{"href":"https:\/\/worldarchaeologicalcongress.com\/wac10\/wp-json\/wp\/v2\/media?parent=6935"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}