FOLK ART AND TRIBAL ART: WITH SPECIAL REFERENCE TO MANDLA DISTRICT, MADHYA PRADESH

Radical interactionism (RI) is a theoretical perspective arising from the symbolic interactionist (SI) tradition, departing from conventional approaches to SI by redressing the lack of attention to the workings of power and domination in everyday social life. Developed primarily by Lonnie Athens, RI pushes the SI tradition beyond its theoretical and political conservatism, making the analysis of domination essential to all social inquiry. RI integrates the foundational SI work of George Herbert Mead and Herbert Blumer with the less well known work of Robert Park, bringing their early SI writings in dialogue with contemporary critiques of the SI tradition. This emerging theoretical position provides clear methodological guidance for social scientists who look to reconcile SI theory with contemporary critiques and with a growing theoretical emphasis on power and domination in everyday life.

Folk art crafts of Russia as a phenomenon of traditional culture are an informational and valuable resource for the development of culture, so it is vitally important to include the heritage of folk-art crafts in the current culture as a source of instrumental basis for constructing social memory, which is possible only based on cultural understanding of crafts as an object of heritage. Folk art crafts are both an economic phenomenon and a form of existence of folk-art culture, representing a cultural phenomenon that reveals the laws of development and functioning of human society. For the first time, the article gives a definition of folk art crafts as an integral object of cultural heritage and analyzes its constituent elements in the form of objects of different types of heritage, presented in tangible, intangible, environmental and natural terms.

I begin with three sociological accounts of art. Each springs from an influential sociological approach and is reasonably representative of that approach. The works providing these accounts are: Howard Becker’s Art Worlds (1982), Janet Wolff’s The Social Production of Art (1981) and Aesthetics and the Sociology of Art (1983), and Peter Burgers Theory of the Avant-Garde (1984). The theoretical approaches from which the accounts derive are respectively: symbolic interactionism, Marxism, and critical theory. There are, of course, other sociological approaches, and I do not intend to offer a comprehensive survey of extant sociologies of art. However, I will argue that these works raise certain characteristic or symptomatic1 issues for a sociology of art per se.

Pictures have always been one of the fundamental tools for storytelling that serve as a spigot for folk narratives and performances. Although in India, folk art styles feature stories from the traditional repertoire, increasing focus on use of folk and tribal art in graphic novels and innovation in esthetic strategies problematize the perceived fixity and primitivity associated with “folk.” To accommodate different stories and audiences, Patachitra (folk) and Pardhan‐Gond (tribal) art forms undergo stylistic changes in storytelling. The paper explores the organic and reflexive nature of these two narrative art forms, focusing particularly on two contemporary manifestations: I See the Promised Land (2013) and Bhimayana (2011).

In the ever-evolving landscape of modern higher education, the fusion of academic exploration with market dynamics emphasizes the inherent value of foundational craft principles. This synergy is particularly evident in specialized fields such as artisanal crafts, where individuals engage in a unique learning environment to enhance their proficiency and skills. Craft workshops, universally recognized as a critical priority, go beyond traditional teaching methods, serving as essential platforms for participants to not only grasp theoretical concepts but also apply them in practical, industry-relevant settings. The transformative impact of such craft workshops is significant, effectively bridging the gap between academic knowledge and real-world craft scenarios. This research article explores the transformative influence of a one-day Tribal Art & Sketching Workshop held at Amity School of Fashion Design & Technology (ASFDT), Amity University Madhya Pradesh (AUMP), on December 12, 2023. Led by the renowned artist Mr. Aalok Sharma, a national painting and sculpture artist and former fine art educator at Scindia Kanya Vidhyalaya, Gwalior, the workshop aimed to familiarize design students with the rich cultural heritage of Madhya Pradesh folk art, with a specific focus on Gond Art. Through a thorough analysis of the workshop's structure, participant engagement, and outcomes, this study aims to uncover the profound impact of the Indian art experience on the creative development of design students. The research methodology employs a combination of qualitative and quantitative approaches, aligning with the principles of the National Education Policy (NEP) 2020. This includes the use of a 5-point Likert scale for data collection to meticulously analyze the objectives, outcomes, and feedback from design students actively participating in the workshop. The results highlight a significant gap in traditional fashion design education that dynamic learning experiences like these seamlessly fill. By equipping students with practical skills and insights, the findings underscore the symbiotic relationship between workshops and holistic learning, aligning with NEP 2020's emphasis on experiential and multidisciplinary education. The resounding endorsement from students further supports the crucial role of workshops in enhancing their educational journey and aligns with NEP 2020's vision for learner-centric education. In essence, this study contributes to narrowing the theoretical-practical divide that often impedes comprehensive education. It emphasizes the transformative potential of workshops, redefining their status from peripheral add-ons to integral components of the educational framework. By showcasing the case of Amity School of Fashion Design and Technology in Amity University Gwalior, Madhya Pradesh, the study provides a model for educational institutions worldwide to incorporate innovation, relevance, and efficacy into their curriculum through the strategic integration of workshops in the craft sector, aligning with the progressive vision outlined in NEP 2020. (National Education Policy 2020).

“Cultural commodity” refers to playing a positive role in the background of cultural sustainability. Nevertheless, cultural commodities have significantly different characteristics from general commodities. It faces multiple challenges regarding design and development. This study attempts to extract attractive factors from cultural commodities that people highly appreciate and analyze their correlations with design attributes. The research design integrates qualitative and quantitative methods. Firstly, derivative commodities of cultural relics that represent the National Palace Museum of China were chosen as research objects. Secondly, attractive factors and commodity attribute features were extracted through the evaluation grid method (EGM) in Miryoku Engineering. Finally, correlations between the “attractive factors” and “design attributes” were analyzed through the “Quantitative Theory I.” This study concluded an “evaluation grid diagram of cultural commodity” and the “design rule” of cultural commodities.

This article explores the ways in which urban transformations reshape the production and meaning of Iban handicrafts in Sarawak, with particular attention to processes of cultural identity and social change. Drawing on qualitative research including field observations and interviews with Iban artisans, the study examines how indigenous knowledge systems are adapted in response to modernization and urban influences. Findings reveal that handicrafts function not only as material artifacts but also as social markers that negotiate identity and collective memory within shifting urban contexts. The discussion highlights the intersections between cultural continuity and change, showing how women artisans and rural communities navigate economic pressures, cultural commodification, and urban demands while maintaining indigenous values. By linking material culture with the dynamics of social transformation, the article demonstrates the role of handicrafts as both products of tradition and instruments of adaptation. This contributes to cultural sociology and social change studies by situating indigenous art practices within broader debates on modernization and identity in Southeast Asia.

Most empirical work on product symbolism has paid relatively little attention to how products are used by consumers in everyday social life. This paper argues that the subjective experience imparted by the consumption of many products substantially contributes to the consumer's structuring of social reality, self-concept, and behavior. Moreover, the consumer often relies upon the social meanings inherent in products as a guide to the performance of social roles, especially when role demands are novel. While marketing theory traditionally views products as post hoc responses to underlying needs, the focus here is on conditions under which products serve as a priori stimuli to behavior. By integrating concepts adapted from symbolic interactionism, this approach stresses the importance of product symbolism as a mediator of self-definition and role performance.

Africa’s unparalleled biodiversity is under threat from habitat destruction, poaching, and climate change, challenges that transcend ecological concerns and impact the continent’s socio-economic and cultural fabric. Conventional wildlife preservation strategies, often rooted in Western conservation paradigms, have struggled to address these interconnected issues effectively. This paper contends that African indigenous knowledge systems and cultural practices offer transformative solutions to these challenges, bridging the gap between environmental preservation and cultural sustainability. Using Nigeria and Kenya as case studies, this research explores how indigenous cultural values, such as Nigeria’s communal land management traditions and Kenya’s sacred wildlife conservation practices, can inform sustainable and inclusive approaches to wildlife preservation. The study draws on qualitative analysis of traditional ecological practices, legislative frameworks, and case studies of community-driven conservation efforts. It highlights the Ogoni people’s environmental stewardship in Nigeria and the Maasai’s coexistence with wildlife in Kenya as models for integrating cultural heritage with ecological resilience. The findings underscore that indigenous African knowledge systems provide holistic, ethical, and adaptive strategies for addressing modern conservation challenges. By aligning these cultural insights with contemporary governance structures, African nations can champion innovative solutions that not only protect biodiversity but also uphold the values and livelihoods of local communities.

The Tampun Juah Customary Forest, located in Sanggau Regency, West Kalimantan, has a rich history of natural resource management by indigenous communities. This study aims to analyze changes in land use within this customary forest, focusing on the impact of land allocation on the livelihoods of the community. The study integrates spatial analysis tools such as ArcGIS 10.3, Google Earth validation, and temporal analysis using high-resolution satellite imagery (Landsat 8 and Sentinel 2) to evaluate land cover changes. Land cover classification follows the national classification protocols established by the Indonesian Ministry of Environment and Forestry, by SNI 764.591:2014 for cartographic representation at a scale of 1:250,000. Additionally, qualitative methods, including in-depth interviews with 15 indigenous community leaders and members, participatory observation, and Focus Group Discussions (FGDs) involving 6-8 participants per group, were used to gather insights on local knowledge systems and their contributions to ecological resilience and sustainable land. The findings indicate that traditional land management practices, such as mixed cropping, have significantly declined due to the conversion of land for large-scale plantations, adversely affecting the sustainability of both ecosystems and indigenous cultures. These results underscore the importance of integrating indigenous knowledge systems into natural resource management to achieve cultural sustainability and resilience.

This study explored the challenges in implementing Culturally Sustaining Pedagogy (CSP) among Lumad learners in Pangantucan, Bukidnon. Using a qualitative, narrative approach, data were collected through semi-structured, in-person interviews with five purposively selected teachers who have taught Lumad learners for at least three years and who are familiar with Indigenous Knowledge Systems and Practices (IKSPs). These teachers are also Lumads themselves belonging to the Manobo, Talaandig, and Umayamnon communities. Thematic analysis was conducted using Braun and Clarke’s six-phase model to identify recurring patterns and themes in the narratives. The researcher, a member of the Higaonon community but who was born and raised in a highly urbanized setting, also practices reflexivity in the analysis of the data. The research examined the implementation of CSP through its key components: dynamic use of community languages, incorporation of local knowledge and practices, student and community agency, historical context in content and instruction, the ability to address internalized oppression, and effective integration of these elements into the curriculum. Findings revealed structural challenges, including limited school and faculty support, insufficient training, lack of Lumad representation in policymaking, a rigid national curriculum, and scarce historical documentation. Content-related challenges also emerged, such as the difficulty in addressing the traumatic history of the Lumad, the sacredness and technical nature of IKSPs, and language barriers. Furthermore, the teachers' cultural backgrounds and the effects of modernization on students’ cultural self-esteem added to the complexity of implementing CSP. Despite these obstacles, teachers demonstrated agency by adapting and embedding CSP into their classrooms. The study emphasizes the need for institutional support to foster a pedagogy that honors Indigenous cultures, languages, and identities, ultimately promoting both academic success and cultural sustainability.

This article explores the integration of “Ayatutu”, a communal philosophy from Nigeria’s Tiv people, into mathematics education frameworks. Ayatutu—embodying collective responsibility and mutual assistance—aligns with contemporary cooperative learning approaches while offering unique cultural dimensions. Through analysis of the ethnomathematics literature, indigenous knowledge systems, and cooperative learning theories this article develops a theoretical framework for Ayatutu-based mathematics instruction built on the following five core elements: collective problem-solving, resource sharing, complementary expertise, process orientation, and intergenerational knowledge transfer. The framework demonstrates significant alignment with sociocultural learning theory, communities of practice, and critical pedagogy while also offering potential benefits including enhanced mathematical engagement, positive identity development, stronger learning communities, and cultural sustainability. Implementation challenges involving teacher preparation, structural constraints, cultural translation, and balancing individual with collective learning are examined. This research contributes to decolonizing mathematics education by positioning indigenous philosophical systems as valuable resources for creating culturally responsive and mathematically powerful learning environments that serve diverse student populations while honoring cultural wisdom.

Blood donation is crucial to healthcare systems worldwide; nevertheless, voluntary participation is inadequate, especially in developing countries like Bangladesh. This study seeks to explore the attitudes, behaviors, and perceptions of university students regarding blood donation in Bangladesh. A mixed-methods approach was used to gather both quantitative and qualitative data from 40 students at a leading private university in Bangladesh through surveys, in-depth interviews (IDI), and focus group discussions (FGD). The study results reveal several factors affecting students' propensity to donate blood, including moral obligations, spiritual beliefs, and social responsibility. Misperceptions about health concerns and practical obstacles, such as needle fear and the inconvenient locations of donation centers, were identified as deterrents to participation. Although most students view blood donation as a moral obligation and a means of enhancing community welfare, hesitation often arises from apprehension over physical pain and misconceptions. In this regard, students may be classified into three behavioural categories: regular donors, reluctant non-donors, and occasional donors, reflecting the varied motives behind their behaviours. The theories of 'Symbolic Interactionism' and the 'Looking Glass Self' are pertinent here as they highlight the impact of social interactions and self-perception on students' choices to participate in blood donation. This study indicates that raising awareness, addressing misunderstandings, and improving access to donation centers could substantially boost voluntary blood donation among university students. The study findings enhance comprehension of the factors influencing blood donation behaviors and provide valuable insights for fostering a more sustainable blood donation culture in Bangladesh, and hence contribute academically to the fields of medical sociology, medical anthropology, public health and medical science.

The uniqueness of a historic town lies in its ancient origin (the middle of the 18th century and earlier); in the preserved historical, cultural and architectural environment; in the relationship of the town with significant historical events of the country; in the traditional folk crafts and arts that exist to the present time. It is positioned as a unique heritage site containing the main socio-cultural characteristics of the nation.Since the 1980s, some authors’ works have been attempting to scientifically substantiate the phenomenon of small historic town as a potential of cultural heritage in the context of its socio-cultural significance for the state, society and local community, with its advantages and problems.The purpose of this study is to show the potential of small historic town in the state cultural policy implementation. An analysis of various scientific approaches to the content of the concept of “historic town” is presented. The terminological chain “cultural resource”, “cultural resource of economic activity” and “object of historical and cultural heritage” is also included in the context of the article.The importance of historic towns in the training, education and enlightenment of citizens is invaluable. Scientifically based conclusions and official documents state that the majority of small historic towns cannot solve the accumulated problems on their own. A significant number of historical and cultural monuments require restoration.The inclusion of the potential of small historic town into the socio-cultural space should be carried out on the basis of programs of heritage preservation, development of tourism, folk arts and crafts, publication of the results of historical and cultural studies, creation of a complex of scientific documentaries and TV programs.The experience of Great Britain in protection of cultural heritage is considered.The article analyzes the Russian legislative acts over the past 50 years in relation to architectural monuments, historic towns and settlements. The author focuses on the recent evolution of approaches to the management of historical and cultural heritage of Russia.The obtained data demonstrate that regional executive authorities can become the coordinators of activities in the field of cultural heritage protection and tourism; and local authorities can be the organizers.

Art is an expressive tool for humans to convey their feelings, emotions, beliefs, and affiliations. Fashion design is a type of visual art that expresses human needs for clothing. Fashion design is an art through which creativity can be expressed, and artistic aesthetics and designs that align with modern times can be created. In our current era, most fashion designers have turned to the concept of sustainability in fashion to meet buyers' needs while maximizing the utility of clothing products. Sustainability is a term that achieves environmental balance among three essential dimensions (environmental dimension - social dimension - economic dimension). The world has recently been moving towards sustainability in all areas of life. A fashion designer can achieve the social dimension of sustainability in their designs by reviving folk art and showcasing its aesthetic values while preserving it from extinction. Folk art is the art of expressing the common people's lives by depicting their daily lives and expressing them through artistic works. The culture of peoples, their arts, beliefs, and traditions are reflected in mosaic art through the panels that adorn the ceilings of churches, mosques, palaces, and walls, expressing their thoughts. Mosaic is a type of decorative art that has been used since ancient times to express society, convey identity, and revive heritage. From this perspective, the research problem lies in the possibility of enriching the field of fashion design with innovative designs for women that align with modern fashion trends and achieve a blend of Egyptian folk art and mosaic art, combining authenticity and modernity while affirming Egyptian identity. Therefore, the research aims to create designs for women's fashion (ages 20-35) inspired by Egyptian folk art and mosaic art that align with global fashion trends, emphasize Egyptian identity, and achieve social sustainability. In addition, it aims to employ mosaic art in innovative fashion designs using various techniques and materials such as (embroidery, printing, direct painting, copper, and tent-making). The importance of the research lies in establishing a culture of social sustainability for Egyptian folk art and drawing inspiration from it in fashion design while affirming and reviving Egyptian identity with new and innovative visions, adapting mosaic art with new techniques and materials. The research follows a descriptive analytical approach and an experimental method, with the researcher preparing (10) innovative designs, and after discussion and analysis, the best (3) designs were selected for implementation to achieve the research goal.