Papua New Guinea is one of the most culturally diverse countries in the world, with over 750 languages representing 750 ethnic groups. Papua New Guinea is made up of 24 provincial governments, and the nation is divided into four regions known as Momase, the Highlands, New Guinea Islands, and the Southern Region.

Folkland, International Centre for Folklore and Culture is an institution that was first registered on December 20, 1989 under the Societies Registration Act of 1860, vide No. 406/89. Over the last 16 years, it has passed through various stages of growth, especially in the fields of performance, production, documentation, and research, besides the preservation of folk art and culture.Since its inception in 1989, Folkland has passed through various phases of growth into a cultural organization with a global presence. As stated above, Folkland has delved deep into the fields of stage performance, production, documentation, and research, besides the preservation of folk art and culture. 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 veritable collection of folk songs, folk art forms, riddles, fables, myths, etc. that are on the verge of extinction. This collection has been recorded and archived well for scholastic endeavors and posterity. As such, Folkland defines itself as follows

Mudiyettu is a ritual art form practiced in the southern Indian state of Kerala. It is performed annually in different villages throughout Kerala along the rivers, Chalakkudy Puzha, Periyar, and Moovattupuzha among the Marar and Kurup communities in venues known as bhagavati kavus, temples, which are dedicated to the Hindu goddess Kali. The temple provides as the focal point for this ritual, and all villagers, irrespective of their caste, participate and play a specific role in its organization.

Beijing opera dates back over two hundred years to the Qing dynasty, although its roots can be traced back to the Tang dynasty (618–907 CE). While there are many aspects that make Beijing opera a unique cultural asset, the facial makeup used on performers is world renowned for its exquisiteness and mystique.

Folkland, International Centre for Folklore and Culture is an institution that was first registered on December 20, 1989 under the Societies Registration Act of 1860, vide No. 406/89. Over the last 16 years, it has passed through various stages of growth, especially in the fields of performance, production, documentation, and research, besides the preservation of folk art and culture.

The tradition of jewelry making in India began with the prehistoric factories of the Harappan civilization which produced metal and bead jewelry and has continued unbroken over five thousand years in the continuity of its form, technique, and symbolism. Some of the earliest excavations of bead and stone factories have uncovered evidence of sophisticated tools like burins, scrapers, cylindrical drills, and micro-drills used to drill holes in beads and etch designs on precious and semiprecious stones. These beads, along with sheet gold and gold wire twisted into intricate earrings, necklaces, bangles, waistbands, and more, represent the humble beginnings of the Indian jewelry tradition. Jewelry has since been used to demonstrate affection, status, power, and skill.

Gold has been long viewed and used as an ornament of preciousness and luxury. Gold is often used to decorate textiles and this process is referred to as gold appliqué. Gold appliqué has a long history in Korea, and there are several records explaining a situation where the government prohibited the use of gold appliqué during the Three Kingdoms era (4-7 CE) due to concerns about the dissipation of the country’s wealth.

The circle dance, where people dance in a rotating formation, has appeared in many cultures since ancient times. The form and structure of the circle dance reflect the aesthetic concepts of mysteriousness, the incessant generation of filling and emptying, eternal return, unity, and defense. While there are various kinds of circle dance forms in Korea, the grandest one, with more than 250 dancers, is the yeowonmu.

In Nepal, Shamanism was practiced before the arrival of Hinduism and Buddhism. Now it is integrated within both of these religions. Depending on the credo of a particular ethnic community, shamanistic rituals have no monolithic shape but the core value of shamanism is consistently upheld. Shamans are commonly known as dhami or jhakri though ethnic communities have various terms assigned for them. Traditionally, shamans act as mediators between the spirit world and the human world. They are healers, soothsayers, advisors, and priests. Shamans are common people who work as farmers or in some other day job, and they just happen to practice shamanism, typically in the evening.\n\nAmong many ethnic communities in Nepal, Tamang, a cultural and linguistically distinct community, practices shamanism. They believe spirits in the environment help shamans solve people’s problems. In the Tamangworld, spirits are present as microbes in our environment; this worldview is never written, only maintained by oral culture. Some even say that they learn some mantras in their dreams. It’s also very important to have a master and to learn more mantras from them. In addition to teaching mantras to his disciples, a master also helps shake the body and control trances. The disciple-master relation is important and is seen during rituals.\n\nTamang shaman rituals are impressive to watch as the shaman also renders a captivating dance performance during the ritual. The attire of white dress and feather headgear he wears helps bind the people’s gaze. He uses a garland of 108 rittha seeds and rudrakshya (seed of Elaeocarpus granitreus). They wear bells arranged like a belt, producing sounds when they shake during the rituals. Along with the attire they also require ritual objects like phurba (three headed dragger), tiger bones, and materials like incense, uncooked rice, and seed of oroxylum indicum tree (which is almost like white petals). Beating a drum made of deerskin is one of the most important ritual objects. By beating and shaking his body, the shaman goes into a trance where he communicate with the spirits and finds the cure or answer for the clients’ problems. After every ritual, the shaman tells the people the solution to their problems, which he finds during the rituals. Many people in remote parts of the country still rely on the shaman for cures where they don’t have medical facilities. But in places that have medical facilities some people still go to shamans if doctors cannot cure them.\n\nDuring janai purnima (full moon of August or September), shamans have a special day when they gather at holy sites and perform rituals. It’s also a day to boost power among the other shamans. There was a time when all shamans were men. Today, however, though not too significant a change, a small number of women are also shamans.\n\nPhoto : Shaman performing a ritual in a Samarthali Village of Nepal ⓒ Monalisa Maharjan

Colloquially, a mask often used in artistic mask dance performances to disguise or hide the original appearance is called “Baab” in Dzongkha (Bhutanese language) and in many local dialects. Baab is not only used for masquerade, but represents the appearance and expression of enlightened beings, celestial beings, guardian deities, and some extraordinary human beings who have helped to shape meaningful human life and promote harmonious living, which is why it is also referred to by the honorific title Zhal baab (face mask). Baab comes in many forms, appearances, complexions and with exceptional features that represent transcendent religious meanings and significance. Baab is the product of an art that requires several skills such as religious knowledge including proper proportions, biodiversity as the basic raw materials are woods, craftsmanship, blacksmithing in making tools and finally painting to give the mask the final structure.\n\nAccording to historical texts, the Baab tradition and the performance of the mask dance, usually called Gar-cham, was introduced to Bhutan by Guru Padmasambava in the early 8 th century. Later, it was further developed by eminent Buddhist masters, especially Terton (discoverer of the hidden treasure) Pema Lingpa (1450-1521), who introduced many sacred mask dances and passed on the art of Baab making, which is still recognized and known today for his contribution to the enrichment of Bhutan’s indigenous art and culture. His exceptional art of Baab making and mask dances was later recognized by Zhabdrung Ngawang Namgyal (1594-1651), the head of the state government, and included as one of the of Bhutan’s intangible cultural heritage domain of arts and crafts. Thereafter, the Baab tradition was maintained and enjoyed increasing popularity after the heads of the state government, chief abbots and successive monarchs introduced and authorized other private religious institutions to organize Tshe-chu, Drub-chen, Chod-pa, Rab-ne, Me-wang, Ma-ni, Due-chod (mask dance festivals), etc. throughout the country.\n\nColloquially, a mask often used in artistic mask dance performances to disguise or hide the original appearance is called “Baab” in Dzongkha (Bhutanese language) and in many local dialects. Baab is not only used for masquerade, but represents the appearance and expression of enlightened beings, celestial beings, guardian deities, and some extraordinary human beings who have helped to shape meaningful human life and promote harmonious living, which is why it is also referred to by the honorific title Zhal baab (face mask). Baab comes in many forms, appearances, complexions and with exceptional features that represent transcendent religious meanings and significance. Baab is the product of an art that requires several skills such as religious knowledge including proper proportions, biodiversity as the basic raw materials are woods, craftsmanship, blacksmithing in making tools and finally painting to give the mask the final structure.\n\nAccording to historical texts, the Baab tradition and the performance of the mask dance, usually called Gar-cham, was introduced to Bhutan by Guru Padmasambava in the early 8 th century. Later, it was further developed by eminent Buddhist masters, especially Terton (discoverer of the hidden treasure) Pema Lingpa (1450-1521), who introduced many sacred mask dances and passed on the art of Baab making, which is still recognized and known today for his contribution to the enrichment of Bhutan’s indigenous art and culture. His exceptional art of Baab making and mask dances was later recognized by Zhabdrung Ngawang Namgyal (1594-1651), the head of the state government, and included as one of the of Bhutan’s intangible cultural heritage domain of arts and crafts. Thereafter, the Baab tradition was maintained and enjoyed increasing popularity after the heads of the state government, chief abbots and successive monarchs introduced and authorized other private religious institutions to organize Tshe-chu, Drub-chen, Chod-pa, Rab-ne, Me-wang, Ma-ni, Due-chod (mask dance festivals), etc. throughout the country.\n\nIn general, the manifestations of Baab can be summarized as; Baab of deities and gods, animals and extraordinary human beings. It is firmly believed that the masks of the deities and gods manifest themselves in various emotional appearances such as; graceful, heroic, abominable, wrathful, compassionate, comical, wondrous, terrifying and petrifying. These expressions can also be divided into four categories: peaceful, inspiring, empowering and angry.\n\nBaab comes in different colors and with unusual features that remind of victory over emotional poisons that disturb the peace and tranquility of both one’s own and others and worldly affairs. The white color represents serenity and overcoming anger, the yellow represents inspiration and overcoming ego, the red represents strength and overcoming attachments, the green represents anger and overcoming envy, the blue represents inaction and overcoming ignorance, and the black represents neutrality and abiding in the ultimate emptiness. Similarly, the extraordinary characteristics are;\n\n1. Five-syllable headgear: embodiment of five transcended Buddhas.\n2. Five-Skull Headgear: Triumph over the five emotional poisons and possession of the five transcendental wisdoms.\n3. Opened mouth: feasting on the malignant obstacles.\n4. Rolled tongue: making palate noises after feasting.\n5. Four fangs: overcoming birth and death.\n6. Bitten off lower lip: expression of anger out of pity.\n7. Flaming beard and eyebrows: burning of negative actions and impurities.\n8. Gazing three eyes: seeing the past, present and future activities.\n\nThere are three types of masks made by Bhutanese artisans: Re baab (paper and cloth mask), Shing baab (wooden mask) and Sing-phye baab (mask made of a mixture of sawdust). However, the former two are ancient technical craft, while the latter is a newer product used mainly for commercial or decorative purposes. Traditionally, Baab are used only for the actual performance or kept as relics after the consecration ceremony has been performed by spiritual masters. It is believed that if these items are not blessed, they are as good as toys and are haunted by the spirits, causing harm to society.\n\nphoto 1 : Wangzhing Rabney, Lhuntse © Drungtsho Jigme Singye \nphoto 2 : Trongsa Dzong © Yeshi Lhednup\nphoto 3 : Shing-baab Wangzhing Rabney, Lhuntse © Drungtsho Jigme Singy\nphoto 4 : Baab ,Tamzhing Phagla Tshechu, Bumthang © Yeshi Lhendup\nphoto 5 : Wangzhing Rabney, Lhuntse © Drungtsho Jigme Singye\nphoto 6 : Trongsa Dzong © Yeshi Lhednup

Shola, or sholapith, is a milky-white, spongy plant matter that is shaped into objects of art and utility by the indigenous communities of West Bengal in eastern India. It is lightweight and versatile, enabling it to serve a diverse range of functional and esthetic purposes. For instance, traditional craftspeople now use shola for their intricate work since the ban on ivory use.\n\nShola, or sholapith, is a milky-white, spongy plant matter that is shaped into objects of art and utility by the indigenous communities of West Bengal in eastern India. It is lightweight and versatile, enabling it to serve a diverse range of functional and esthetic purposes. For instance, traditional craftspeople now use shola for their intricate work since the ban on ivory use.\n\nShola became hugely popular during the period of the British Empire. The ubiquitous shola topi (pith helmet) was worn in the colonies in Asia and Africa and became symbolic of the colonizers. Shola has always been essential in the Bengali Hindu cultural tradition. Shola objects like topor (bridegroom’s headgear) are a must at every wedding.\n\nIndigenous communities use shola in their rituals throughout the different districts of Bengal. The Manasar Chali is a depiction of the goddess of snakes, fertility, and wealth and is customary for the worship of Manasa all over North Bengal. A wall hanging known as Saitol is considered auspicious in wedding and childbirth rituals. String puppets are made from a shola base and a clay exterior, as shola is both light and easy to shape. Flowers are made with shola for both ritual and ornamental purposes. In modern times, various accessories and decorative items made of shola have become increasingly popular. There are now only around a score of master craftspeople who have the skills to make intricate items, though 7,000 craftspeople are associated with this craft.\n\nShola, or sholapith, is a milky-white, spongy plant matter that is shaped into objects of art and utility by the indigenous communities of West Bengal in eastern India. It is lightweight and versatile, enabling it to serve a diverse range of functional and esthetic purposes. For instance, traditional craftspeople now use shola for their intricate work since the ban on ivory use.\n\nShola became hugely popular during the period of the British Empire. The ubiquitous shola topi (pith helmet) was worn in the colonies in Asia and Africa and became symbolic of the colonizers. Shola has always been essential in the Bengali Hindu cultural tradition. Shola objects like topor (bridegroom’s headgear) are a must at every wedding.\n\nIndigenous communities use shola in their rituals throughout the different districts of Bengal. The Manasar Chali is a depiction of the goddess of snakes, fertility, and wealth and is customary for the worship of Manasa all over North Bengal. A wall hanging known as Saitol is considered auspicious in wedding and childbirth rituals. String puppets are made from a shola base and a clay exterior, as shola is both light and easy to shape. Flowers are made with shola for both ritual and ornamental purposes. In modern times, various accessories and decorative items made of shola have become increasingly popular. There are now only around a score of master craftspeople who have the skills to make intricate items, though 7,000 craftspeople are associated with this craft.\n\nThe project for the revival of shola www.sholacraft.com) by Contact Base (banglanatak.com, a social enterprise in India) is supported by the German Consulate General of Kolkata under the German government’s Cultural Preservation Program. An exhibition, Green Ivory, was held in Kolkata between 17 and 19 July 2019, showcasing exquisite shola craft products. Young visitors were especially thrilled, as for many of them, the material was a new discovery, and they had lots of fun learning some simple crafts at the workshop conducted by the artists.\n\nPhoto 1 : Shola flowersⓒBanglanatak dot com\nPhoto 2 : Shola exhibition ⓒ Banglanatak dot com\nPhoto 3 : Manasar chali ⓒ Banglanatak dot com\nPhoto 4 : Happy students ⓒ Banglanatak dot com