Role of bangladeshi folk culture in the development and promotion of tourism in country

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Department Of Tourism and Hospitality Management
Faculty of Business Studies
University Of Dhaka
Submitted To:
Jameni Jabed Suchana
Lecturer
Department of Tourism and Hospitality Management
Submitted By:
Group Innerstar
Section B
THM 8th Batch
Submission Date: 16 August, 2017
Jameni Jabed Suchana

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Lecturer
Department of Tourism & Hospitality Management,
University of Dhaka.
Subject: Submission of the Report
Dear Madam,
I am very pleased to submit the report on "Role of Bangladeshi Folk Culture in the Development
and Promotion of Tourism in Country" that you have assigned to identify the problems
associated with this tourist place and prospects remains of this tourist place in Bangladesh. In
this report, I have tried to find out the key factors that the customers are characterized as major
problems associated in tourism marketing. After finishing the project work, I think that I have
gathered a lot of knowledge about the consumers' insight and based on the findings and how to
implement them. Thus, this project works my research knowledge regarding target audience as
marketing major student. This report extended my knowledge and will definitely be helpful in
the future. Thank you very much for giving me such kind of opportunity to enrich my
knowledge. I would like to thank you for your valuable guidance in every problem T had and the
precious time that you gave me. I will be available for any further clarifications required.
Thank you
Yours truly,
Osman Goni
Id- 66
Department of Tourism and Hospitality Management,
University of Dhaka
Group members’ profile

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Serial
no.
Member’s name Id no.
1. Osman Goni 66
2. Akash Shikdar 80
3. Nadia Binta Noor 92
4. Mamun Hasan Biddhut 96
5. Nasrin Akter 112
6. Fahima Akter 114
Table of Contents:

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Serial No. Topic Page No
1. Introduction 4
2. Culture 5
3. Folk culture 5
4. Types of folk culture
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Role of Folk Culture in Bangladesh 24
Influence of Folk Culture in Social and National Life 25
Literature: 27
Developing and Preserving Folk Culture 27
Who plays the role 27
Folk Culture and Tourism 28
Impact of Folk Culture on Tourism 31
The Effects of Tourism on the Folk Culture 31
The Effects of the Tourism on the Local Community 33
Community Attachment and Involvement 36
Cost & Benefit of Local People 36
Existing Status of Folk Arts and Culture 37
Suggestions 38
Conclusion 39
References 39
List of Figure:
Figures Page No.

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Figure-1: Baul Dance 9
Figure-2: Chhokra dance 9
Figure-3: Fakir dance 10
Figure-4: Gambhira dance 10
Figure-5: Jari dance 10
Figure-6: Lathi dance 11
Figure-7: Puppet Dance 11
Figure-8: Alpana, drawn in different kinds of Puja 13
Figure-8.1: On the eve of Noboborsho (Bangla New Year) the
350,000 square feet motif representing the folk culture of
Bangladesh.
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Figure-9: Potchitra 15
Figure-10: Intricate patterns of mehedi typically applied to
brides before wedding ceremonies
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Figure-11: Colorful patterns and designs embroidered in Nakshi
Kantha
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Figure-12: Sital pati 17
Figure-13: Cane products 17
Figure-15: Conch Shell products 18
Figure-16: Wooden dolls 19
Figure-17: Gazir pat 19

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Role of Bangladeshi Folk Culture in the Development
and Promotion of Tourism in Country
1. Introduction:
Bangladesh has a rich, diverse culture. Its deeply rooted heritage is thoroughly reflected in its
architecture, dance, literature, music, painting and clothing. The three primary religions of
Bangladesh (Hinduism, Buddhism and Islam) have had a great influence on its culture and
history.
The people of Bangladesh have a rich fictional legacy, with the first available form of literature
being over a thousand years old. The traditional music of Bangladesh is very much the same as
that of the Indian sub-continent. Tribal dances are very popular among the Bangles. The
countryside girls are in the habit of dancing to popular folk music. Their dances require no
regulations as such, just a small amount of courage and a big amount of rhythm. Popular songs
like Shari and Jari are presented with the accompanying dance of both male and female
performers.
Drama and theatre is an old tradition that is very popular in Bangladesh. More than a dozen
theater groups in Dhaka City have been regularly staging locally written plays for hundreds of
years. Many have also started adopted some plays from European writers.
Folk culture in Bangladesh for centuries has been a rural society and still majority population
live on land. Obviously, its ways of thinking and activities are heavily drawn from the rituals and
seasonal rhythms of rural life. Despite the present trends of urbanization and globalization, the
underlying culture, in both urban and rural communities is folk oriented. Interestingly, there are
remarkable similarities in the folk cultures of the societies of all parts of the world. The 6-
volume Motif Index prepared by the folklorist Smith Thomson indicates how folk peoples of
different countries show the tendencies of likeness in so many ways. Thus, the peasants of
Bengal hang from their roofs a sheaf of harvested paddy as a symbol of good luck. The peasants
of many other countries do the same. Bangladesh has a rich, diverse culture to popular folk
music. Their dances require no regulations as such, just a small amount of courage and a big
amount of rhythm. Popular songs like Shari and Jari are presented with the accompanying dance
of both male and female performers. Drama and theatre is an old tradition that is very popular
in Bangladesh.

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2. Culture:
Culture is the social behavior and norms found in human societies. Culture is a central concept
in anthropology, encompassing the range of phenomena that are transmitted through
social learning in human societies.
Some aspects of human behavior, such as language, social practices such
as kinship and marriage, expressive forms such as art, music, dance, ritual, and religion,
and technologies such as tool usage, cooking, shelter, and clothing are said to be cultural
universals, found in all human societies. The concept of material culture covers the physical
expressions of culture, such as technology, architecture and art, whereas the immaterial aspects
of culture such as principles of social organization (including practices of political
organization and social institutions), mythology, philosophy, literature (both written and oral),
and science comprise the intangible cultural heritage of a society.
3. Folk Culture:
Folk culture refers to the localized lifestyle of a subsistence or inward-looking culture. It is
usually handed down through oral tradition and with a strong sense of community. Folk culture
is traditionally practiced primarily by small homogenous groups living in an isolated rural area.
Folk customs have; Anonymous sources, are practiced by small homogeneous groups living in
relative isolation. Isolation promotes cultural diversity. Folk culture arises because of the lack of
interaction among groups.
Folk culture is more likely to be influenced by the local environment. Folk culture may be
divided into four main categories:
(1) material,
(2) formalized,
(3) functional, and
(4) performing.
Included in the material category are those things that are used by people in their day to day life.
These include houses, buildings, furniture, utensils, transport, professional implements, cottage-
craft, fancy goods, costumes, foodstuffs, medicines, etc. Farmers produce various crops, weavers
produce cloth, potters produce utensils, carpenters produce furniture and blacksmiths produce

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iron implements. Professional people like washer men, hairdressers, goldsmiths, bell-metal
craftsmen, conch-shell craftsmen, sweet makers, cobblers, thatchers, and fishermen use a wide
variety of implements. Village people produce their essential goods mainly by themselves and
market them without directly.
4. Types of folk culture:
Covers all branches of formalized folklore, such as tales, songs, ballads, proverbs, riddles,
charms, superstitions, myths, etc.
a. Folk music and song:
Folk songs are the integral part of the folk culture and tradition of Bangladesh. Folk songs
represent the emotional expression of simple, rustic masses of rural community. These songs
fascinate the audience through their lucid melody. The poets and the lyricists from the local
community usually compose these songs from their passion that reflects their great empathy of
joys and sorrows, woe and bliss, enthusiasm and harmony for the nature and peace of the soul as
there is an eternal relation between human beings and nature as like as relation between nature
and folk songs.
Folk songs are the expression of the totality of rural life. We can classify folk songs in seven
categories: love, ritual, philosophy and devotion, work and labor, profession and occupation,
satire and fun, and mixed. On the other side there are different forms of Folk music, Baul,
Gombhira, Bhatiali, Bhawaiya, kavigan, ghatu gan, jhumur, baramasi, meyeli git, jatra gan, sari
gan, etc.
Baul Songs:
The Baul tradition is a unique heritage of Bengali folk music, and there are numerous other
musical traditions in Bangladesh, which vary from one region to the other. The traditional Baul
songs were sung by the old and enlightened Bauls who had vision and true inspiration in their
religious quest for the love of God. All Bauls believe that God is hidden in the heart of man, and
neither priest nor prophet, nor the ritual of any organized religion, will help man to find him
there. So, the themes of the baul songs are mostly spiritual.
Jari Songs:

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Jari (Jari Gaan) is a kind of sad song. Its origin is the tragic events of Medina and Karbala and
the death of Hazrat Imam Hassan and Hussain. The shia community of South Asia commemorate
the events of Karbala in the month of Muharram by singing marsiyas or dirges in Urdu, in
Bengali it is called Jari Gaan. Today Jari Gaans are found especially in Mymenshingh district of
Bangladesh.
Sari Songs:
Sari gaan or Sari songs are usually sung before or after the boat races, a popular amusement in
East Bengal during the monsoon months. During the races young boys take part in the races with
great enthusiasm. Large crowds gather along the banks of the river to celebrate the occasions.
Boats are decorated with colorful decorations. Before the race began, and sometimes after it was
completed, festivities continued all day long with sing-a-song-sing-along sarigaan.
Vatiyali Songs:
Vatiyali songs are traditional boat song of eastern Bengal, sung in a specific mode, noted for its
long-drawn notes. In riverine Bangladesh, boatmen spent a lot of time in their boats. While
sailing downstream, they had plenty of leisure to sing comfortably. The drawn out and elevated
notes are the characteristic of the bhatiyali.
Rain Songs:
Agricultural is the principal occupation of the people of rural Bangladesh. In agriculture, rainfall
is very essential for good harvest. During, drought the peasants find it difficult to use the plough
in the field. Under such circumstances, the religious minded people in the countryside pray to
god for rain. They often offer their prayer in the form of songs, which can be called songs to
invite rain, or simply rain songs. However, religious beliefs of the rural people are captured in
these songs.
Pala Gaan:
Pala gaan is a traditional Bengali folk theater popular among the rural masses across the border
area. It evolved as a performance genre in the greater Mymensingh district of East Bengal. It is
an essential component of all the major rural festivals during the dry seasons. Pala gaan is
performed by a group of performers.
Gazir Gaan (Gazi Songs):
Gazir Gan was popular in the districts of Faridpur, Noakhali, Chittagong and Sylhet region of
Bangladesh. They were performed for boons received or wished for, such as for a child, after a
cure, for the fertility of the soil, for the well-being of cattle, for success in business, etc. Gazi

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songs would be presented while unfurling a scroll depicting different events in the life of Gazi
Pir.
Bhaoaia Song:
Bhaoaia is a popular folk music of North Bengal especialluy in Rangpur and Dinajpur District of
Bangladesh. Bhaoaia is derived from the word Bhao or Bhav that means mood.
Gitika or ballads:
Gitika means ballads though it tends to be longer than western ballads. Gitika is of two types:
purbabanga-gitika & Nath Gitika.
Purbabanga-gitika:
It's mainly from Mymensingh and includes 'Mahuya', 'Maluya', 'Chandravati', 'Dewana Madina',
'Kanka O Lila', 'Kamala', Dewan Bhavna' etc.
Maimansingha gitika:
Maimansingha gitika or Môemonshingha gitika is a collection of folk ballads from the region of
Mymensingh and around of Bangladesh.Chandra Kumar De and Dinesh Chandra Sen were the
collectors and editors; the collection was published from Calcutta University, along with another
similar publication named purbabanga-gitika.
Nath gitika:
It’s on stories of the conversion of Prince Gopi Chandra (Manik Chandra Rajar Gan, Govinda
Chandrer Git, Maynamatir Gan, Gopi Chandrer Sannyas, Gopi Chander Panchali etc.) and on the
miracles of the Nath guru (goraksavijay, Minchetan).
There is also murshitdi, marfoti, voktimulok, kavi gaan famous folk songs in Bangladesh.
b. Folk Dance:
Classical forms of the sub-continent predominate in Bangladeshi dance. The folk, tribal and
Middle Eastern traits are also common. Among the tribal dances, particularly popular are
Monipuri and Santal. Folk dances are performed singly or in groups. Group dances are more
common, reflecting community or collective thinking. Singing is an essential part of these
dances. Although the dancers themselves sing at times, on other occasions they dance to the
singing of another group. Folk dances in Bangladesh are mainly of three kinds: religious, social
and cultural. Religious dances outnumber other forms.

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Baul dance forms part of the religious rites of bauls. Baul songs are spiritual in theme, and while
singing these songs, bauls at one stage start dancing in ecstasy. They hold an ektara in their right
hand. Some wear ghubur (a string of bells) round their ankles.
Figure-1: Baul Dance
Chhau dance a kind of masked dance from the Purulia-Bankura region in West Bengal. This is a
martial dance with shields, swords and sticks, and is based on the ramayana and mahabharata.
The characters wear different masks and dresses in keeping with their roles of gods, demons or
animals. The dancers are generally of strong build.
Chhokra dance (literally, dance by young boys) featuring youths playing the roles of women,
accompanies alkap songs and has been in vogue in West Bengal's Murshidabad and Maldah
region for a long time.
Figure-2: Chhokra dance
Dak dance is another battle dance, popular in Manikganj. Its object is to call fellow warriors to
battle. The team leader calls out that the enemy has launched an attack. At the call, a number of
dancers come running onto the stage. This part of the dance is known as dark or call.
Dhali dance (literally, shield dance) enacts a duel between two men whose weapons are thickly
woven cane shields and bamboo sticks. Drums and brass cymbals provide the musical
accompaniment. The main objective of this dance is to display the dancers' physical prowess and
martial skills.

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Fakir dance This dance is performed by the followers of Madar Pir on the occasion of his urs.
Long-haired devotees, wearing long, loose garments, gather at the pir's mausoleum at the end of
Chaitra (March-April) and burn candles and incense.
Figure-3: Fakir dance
Gambhira dance This dance accompanies gambhira songs and used to be quite popular in the
Maldah district of undivided Bengal. Though not as popular today as it was in the past, it
continues to be performed in Rajshahi. The dance is performed by a pair of artistes, one acting
the role of a nana (maternal grandfather) and the other that of his nati (grandson).
Figure-4: Gambhira dance
Jari dance This dance accompanies jari singing and is usually performed by shi’ah Muslims. It
is organised during muharram and recounts the mournful death of Imam Hossain at Karbala.
About 8-10 youths form a jari dance group. The leader of the group is called ustad and the others
dohar. The dancers wear everyday garments but tie red handkerchiefs round their wrists and
brows.

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Figure-5: Jari dance
Lathi dance a stick dance performed during Muharram by groups of youths. Drums and brass
cymbals are used to maintain the rhythm and tempo. The youths wear close-fitting garments and
also at times tie strings of bells round their ankles. In their hands they carry bamboo sticks about
four or five feet long. They also carry swords, daggers and cymbals.
Figure-6: Lathi dance
Puppet Dance: It is not known how old the tradition of puppets dances is in Bengal. The first
reference to puppets is, however, found in yusuf-zulekha, a 15th century epic. There are three
forms of puppets in Bengal: rod puppets, string puppets and glove puppets. The puppeteer
manipulates string puppets with strings so that the puppets appear to be dancing.

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Figure-7: Puppet Dance
Other form of dances are Kali dance, Khemta dance, Leto dance, Mask dances, Raybenshe dance
etc.
c. Folk tales:
Folk tales are stories that are handed down orally from one generation to another. They are in
prose and can be simple or complex. Based on subject, meaning and form, folk tales is of fairy
tales, mythical tales, religious tales, adventure stories, heroic stories, sage tales, historical tales,
legends, animal stories, fables, or comic stories. The lead character of Bengali folk tales are fate
and divinity dependent and execute magical power rather than intellect, wisdom, labor, struggle
or work.
Folktales occupied a big place in the folkloric culture of Bangladesh. Theses folktales include of
puthis, fairy tales, and fables.
Puthi:
Puthi is a compilation or a book of folktales and religious stories of rural ancient Bangladesh. It
is a kind of manuscript written on sheets or wooden or bamboo pages.
d. Folk drama:
Folk drama is combination of dance, song, music, and acting called as Bhasan, jatra, pala gan,
ghatu, gambhira, alkap, kavigan, puppetry, etc. It can be for entertainment or educational
purposes. Jatra is the most popular form of Folk drama. In Jatras, legendary plays of heroism,
mythological stories, folktales of love and tragedy, and similar countless themes are enacted in
open-air theatre. While some folk dramas emphasise songs, others stress dancing or acting. Folk
drama are commonly based on stories of Rama and Sita, Arjun and Draupadi, Radha and

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Krishna, Nimai Sannyas, Behula and Laksindar, Isha Khan Dewan, Firoz Dewan, Zainab and
Hasan, Sakhina and Kasem, Hanifa and Jaigun, Rahim Badsha, Rupban, Baidyani etc. Folk
dramas usually have a mythical, historical, religious and political flavor.
Figure-8: Peoples are enjoying ‘Jatra’
e. Folk Literature:
Bengali's have a rich literary heritage. The earliest available specimen of Bengali literature is
about a thousand years old. During the mediaeval period. Bengali Literature developed
considerably with the patronage of Muslim rulers. Chandi Das, Daulat Kazi and Alaol are some
of the famous poets of the period. The era of modern Bengali Literature began in the late
nineteenth century Rabindranath Tagore, the Nobel Laureate is a vital part of Bengali culture.
Kazi Nazrul Islam, Michael Madhusudan Datta. Sarat Chandra Chattopadhaya, Bankim Chandra
Chattopadhaya, Mir Mosharraf Hossain and Kazi Abdul Wadud are the pioneers of modern
Bengali Literature.
f. Folk Art and Crafts:
The area of the folk-arts of Bangladesh is very wide. Folk art may be divided into the following
categories:
 Painting: Alpana, painted pots, masks, wall painting, tattooing and other body painting
(Mehedi), chal chitra, fancy pots, fancy dolls etc.
 Embroidery: Nakshi Kantha, handkerchiefs, etc.
 Weaving: Nakshi Shika, Shital Pati (fancy mats), Nakshi Pakha (fancy fans) baskets,
flower vases etc.
 Modelling: Dolls and toys, utensils, masks, moulds for making cakes and, sweets,
ornaments; Engraving Wooden products, terracotta slabs, metal works etc.

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 Inlaying: Ornaments inlaid with gems, pearls, diamond and other precious stones,
decorating buildings and houses with colored glass and stones.
Alpana:
One can see the use of Alpana in Noboborsho (the celebration of Bangla New Year), Jonmo Din
(birthday), Gaye Holud (turmeric paste in marriage ceremony) and on the premises of Shahid
Minar and roads on 21st February at International Mother Language Day.
Figure-9: Alpana, drawn in different kinds of Puja
Figure-9.1: On the eve of Noboborsho (Bangla New Year) the 350,000 square feet motif
representing the folk culture of Bangladesh.

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Potchitra:
Pots are sketched based on different social and religious functions. Many pieces of pictures are
decorated vertically one after another on a pot. These pictures are symbolic to some folk tales or
religious tales. Pots are drawn on many subjects such as- the life of Buddha, the story of jatok,
the love affair of Krisna, Ramayan, Behula, myth of Lakhindar, story of Mohorrom, Sonai-
Madhob etc. Afterwards, pots were drawn on the life story folk peer Gazi, Kalu Gazi-
Champaboti. These are famous as pot of Gazi.
Figure-10: Potchitra
Indigenous colors:
Take the snail shells. Crush them. Refine them till the shells turn into dust. Mix them with water.
Using this idea, you can take the red soil of Dhaka-Mymensingh area. Refine it and you get red
pigments. You can use locally grown indigo for making deep blue pigment, dark ash to make
black paint, brick dust and different types of vegetables for making different kinds of pigments.
These pigments were the indigenous artists' tools in Bangladesh and India for hundreds of years
before modern paints took over and before internationally practiced art-form started to take root.
One can use these paints along with natural adhesive processed out of boiling tamarind seeds.
The indigenous paint--making formula is almost a lost technology. May be a few persons across
Bangladesh still manufacture such paints.

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Figure-11: Indigenous colors
Mehedi:
Mehedi is a ceremonial art form. Intricate patterns of mehedi or Henna are typically applied to
brides before wedding ceremonies. Moreover, mehedi is typically applied during special
occasions like weddings and festivals.
Figure-12: Intricate patterns of mehedi typically applied to brides before wedding ceremonies

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Nakshi Katha:
Nakshi kantha, a type of embroidered quilt, is a type of folk art that has been practiced in rural
Bengal for centuries. The basic material used is thread and old cloth. The colorful patterns and
designs that are embroidered resulted in the name Nakshi Kantha. Most kanthas are utilitarian,
with the running stitch being used to hold the layers of cloth together. A large number of
kanthas, however, show ingenious use of the running stitch for working motifs and border
patterns.
Figure-13: Colorful patterns and designs embroidered in Nakshi Kantha

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Figure 13.1: Kantha motifs have a magical purpose and reflect both the desire of the
needlewoman for happiness, prosperity, marriage, and fertility as well as wish-fulfillment
Shital Pati:
Sital pati, literally cool mats are popular, aesthetic in design, luxurious in their feel and more
expensive than other mats made from reeds and natural fibers.Sitalpati mats are crafted from the
mutra reed and it use is everywhere - from sleeping to sitting on, as a floor mat and a prayer mat
and as a wall hanging.

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Figure-14: Sital pati
Figure 14.1: Rural people (artists) designing Sital pati
Cane craft:
Cane craft Like bamboo, cane is also used to make a variety of household and fancy products
including furniture. Chairs, stools, sofa sets, bookshelves, baskets, table lamps, partitions and
hookah holders are attractive and affordable.

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Figure-15: Cane products
Bamboo craft Bamboo is used to make houses as well as essential implements for farming and
fishing as well as domestic use. Bamboo is also used to make musical instruments such as the
ektara and the flute.
Figure-16: Bamboo Products
Conch Shell craft:
Conchshell craft Conch shells are used to make bangles, armlets, rings, lockets, buttons, hairpins
and clips. Vermilion containers, incense holders, ashtrays, table lamps etc are also made with
shells. Despite their primitive technology, the conch-cutters of Shankhari Patti in Dhaka produce
finely crafted articles.

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Figure-17: Conch Shell products
Daruchitra:
The art of wood engraving is an ancient craft, used for decorating door frames, pillars, windows,
palanquins, boat prows, toys and dolls. The designs are carved out and the plain surfaces are then
painted. Door frames and pillars are painted with creepers, palanquins with flowers, creepers and
geometric patterns, and boats with the swastika, the moon, stars, birds and fish.
Figure-18: Wooden dolls
Gazir pat a form of scroll painting, used to illustrate the life of Gazi Pir, king of tigers. Painted
in panel form, these illustrations depict various miraculous events associated with Gazi Pir. One
such panel shows Gazi seated on a tiger with its tail lifted. Gazir pat also includes other scenes
and motifs, such as the goddess Ganga riding the makara a mythological aquatic animal, a cow
being grabbed by a tiger, and Daksin Ray, also regarded as a king of tigers, holding a mallet in
his hand.

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Figure-19: Gazir pat
Ghatachitra:
Paintings on earthen pitchers or ghat. There are various types of ghatachitra such as mabgalghat,
manasaghat, nagaghat, laksmighat, kartiker bhand and daksinrayer bara, the names being derived
from the deity painted on the pitcher. Thus, manasaghats depict manasa, the snake goddess,
while nagaghats depict hooded snakes.
Jute craft Apart from being the raw material for hessian and carpets, jute is also used to make
mats, bags, and hanging string bags or sika, used in homes to hang foodstuff out of the reach of
animals. To make sikas, jute twine is braided and then tied in various patterns such as taraful,
puntiful and takaful.
Figure-20: Jute craft

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Karandichitra panel paintings on sola, depicting the goddess Manasa. These paintings are made
on the occasion of Manasa puja. First a karandi, a square frame resembling a temple, is made
with sola and paper. Then boxes are drawn at the top and the bottom portraying manasa, behula,
Laksindar, Chand Sadagar, Behula's seven brothers and their wives, a sage, fishermen, snake
charmers, washermen, trumpeters and coiled snakes. At the end of the puja, the karandi is set
afloat on water.
Metalcraft Gold and silver ornaments and plates, glasses, pitchers and mugs made of silver and
bell metal have been in use since ancient times. Flower vases, ashtrays, table lamps, containers
for cosmetics, and various decoration pieces are also being made. Various motifs such as
flowers, creepers, birds and geometric patterns are engraved on pitchers, glasses and mugs.
Figure-21: Metalcraft
Nakshi Moulds Decorative moulds or blocks of varied designs are made with clay, stone or
wood. Wooden blocks are employed to print fabrics using different colours. Moulds of wood,
clay and stone are used to make decorative cakes and sweets.
Figure-21: Nakshi Moulds

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Nakshi Pitha or decorative cakes are made by shaping dough of pounded rice into various
designs. These are then fried in oil and soaked in sugar syrup. Traditional motifs for nakshi pitha
are geometric patterns, wheels, betel leaf, flowers in bloom, fish, birds etc.
Figure-21: Nakshi Pitha
Ornamental Woodwork
A variety of motifs and designs are carved on doors, windows, pillars, joists, rafters, chests, beds,
divans, low seats, cake moulds, cases of musical instruments, palanquins, chariots, boats and
dolls. Common motifs include the lotus, birds, flowery creepers, circles and geometric designs.
Figure-22: Ornamental Woodwork
Pottery: Inexpensive household utensils are made of clay as are images of Hindu gods and
goddesses for pujas and devotional rites. Dolls, toys, and decoration pieces are also made in most
parts of Bangladesh. Some clay products are decorated with designs of leaves, flowers, birds etc
while others are left plain.

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Figure-23: Pottery
Sakher handi
Sakher handi or clay pots painted with motifs of fish, birds, lotus, leaves and geometric designs
in bold brush strokes. Common colours are red, yellow and green. Both motifs and colours are
symbolic of fertility, which is why these pots are used to carry gifts of fruit and sweets at
weddings.
Figure-24: Sakher handi
Sarachitra this large clay plate painted with the image of the goddess Laksmi is also known as
‘Laksmir sara’ or Laksmi’s pat. The plate is first painted white and then the image of the deity,
often shown seated on an owl, is painted in yellow, red, and black.

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Figure-25: Sarachitra
Sola Craft
Sola or spongewood, obtained from a plant that grows in paddy fields and shallow water-bodies,
is used to make a variety of decorative articles. Traditional articles include backdrops for images
of deities and topar, or headgear, for brides and bridegrooms.
Figure-26: Sola Craft
Ulki or tattooing is a form of body art. Men and women of some Hindu castes tattoo parts of
their body for religious reasons, usually with motifs of the sun, birds, snakes or circles.
Vaishnavas tattoo pictures of Radha and Krishna united in an embrace. Tattooing is done by

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pricking the skin of the arms with a needle and then applying the juice of kesutia (Eclipta
prostata) leaves to obtain a bluish colour.
Figure-27: Ulki
Mask
Pohela Boishakh is celebrated with grandeur and colors in Dhaka and other parts of Bangladesh.
The celebrations are started at the break of dawn with a rendition of Rabindranath Tagore’s song
‘Esho he Baishakh’ by Chhayanat under the banyan tree at Ramna (the Ramna Batamul).
An integral part of the festivities is the Mangal Shobhajatra, a traditional colorful procession
organized by the students of the Faculty of Fine Arts (Charukala) of Dhaka University. During
the procession, students carried large symbolic figures and Masks of bamboo-made owl, tortoise,
tiger and elephant. They made artifacts featuring rickshaws, ox, crocodiles, flying birds, warriors
on elephant's back, horses and tigers chasing evil spirits.
Figure 28: Mangal Shobhajatra (Bengali New Year Parade) with colorful masks

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Terracotta
Terracotta, often mistaken as clay tiles, is actually baked earth (pora maati). There are specific
themes and subjects based on which terracotta art is produced. A variety of items is made of
terracotta – plaques, wall tiles, lamps, pitchers, flower vase, pottery, coin bank, candle-stands,
dolls, and more. The designs of these burnt clay products reflect folk tales, picture of everyday
life, artistic symbols denoting peace, love and understanding.
Figure 29: Terracotta Plaques
Ornaments
Motifs have played an important role in the designing of jewelry. Designer has always found a
way to usually express his abstract ideas. Motif has always been a driving force in ornament
design. Natural motifs are widely used in entire world. An expertly crafted piece of jewelry can
capture forever the life-like qualities of an animal on the run, a bird in flight, blooming flowers,
butterflies, insects or fish.Most of jewelry has floral and figurative motifs. These motifs have
been taken from nature and surrounding environment.

31
Figure 30: Ornaments
Rhymes and Lullabies:
Rhymes (Chhara) can be classified into the following groups: nursery rhymes, play rhymes,
social rhymes, historical rhymes, satirical rhymes, occupational rhymes, educational rhymes,
rhymes for rituals, and magical rhymes. Rhymes are recited or sung to calm and entertain
children, many are for fun or to educate people on ethics, morality, mathematics, astrology etc.
Some rhymes originated in historical events and preserve the memory of these events.
For centuries Bengali mothers have been singing lullabies to make their kids sleep. The most
famous lullabies of Bangladesh are:
“Aye Aye chand mama tip diye ja
Chander kopale chand tip diye ja” and
“Ghum parani mashi pishi moder bari esho
Khat nai palonk nai khokar chokhe boso”
g. Proverbs:
Proverbs are the shortest form of folk literature. Generally they are composed on the basis of
human experience, pragmatic consideration, and wisdom. Many proverbs are found in the vedas
and the upanisads as well as in the charyapada, the oldest specimen of Bengali literature. Most
famous proverbs are:

32
Jor jar Mulluk Tar (He who is mighty rules the land
Chor palale buddhu bare (One becomes wise after the theft)
Aye bujhe bey koro (Cut your coat according to your cloth)
Nijer chorjay tel dao (Oil your own machine)
h. Slokas (Riddles):
Riddles are the short compositions that pose problems to be solved”. Riddles can be prose or
verse. Here are some riddles that are popular in our culture:
“Kothay ase kaje nai” (It exists in words, but no in deeds). The answer is horse’s egg. There is no
existence of horse’s egg.
“Panir niche sindol gach, kate lage baro mash” (There is a tree in the water but it takes twelve
month to cut). The answer is Shadow or reflection in the water.
i. Folk belief and practices (Superstitions):
Folk beliefs and superstitions are part of Bangladesh’s folklore as well. These beliefs are focused
on immortality, hostile forces, everyday activities, rituals, animals, communities, evil eyes etc.
The belief in immortality of the soul comes from the ancient times. It also gave rise to the belief
in ghosts. In rural Bangladesh, there are different beliefs regarding evil spirits or ghosts like
shakchunni, petni, mamdovut etc. It is popularly believed that those who have unnatural death or
who dies unhappy turns into evil spirits or ghosts and cause different diseases.
Both in Hindu and Muslim community there are folk beliefs related to widowed or childless
women. They are considered inauspicious in performing some religious rituals and are forbidden
to attend a wedding.
The belief in evil eyes is very strong in rural Bangladesh. Mothers still put a big round black
mark on their children’s forehead to save them from evil gaze even in modern, literate society.

33
Figure-31: Mothers still put a big round black mark on their children’s forehead to save them
from evil gaze
Though such beliefs have no scientific proof, rural people follow these with great affection for
year after year.
1. Role of Folk Culture in Bangladesh:
Bangladesh has a rich cultural folk tradition. Folklore arts, beliefs, rites and rituals, myths, and
rural handicrafts are factors that enrich our folk-tradition. They became well-known as
knowledge transmitted by oral tradition. Folklore has an important role in handing down social
norms and religious knowledge and wisdom and in keeping the social structure stable. Folklore
arts, beliefs, rites and rituals, myths, rural handicrafts etc. are factors that enrich our folk-
tradition. They have become well known as knowledge transmitted by oral tradition rather than
written branches of knowledge. Folklore has an important role in handing down social norms,
moral laws, religious knowledge and wisdom, and in keeping the social structure stable. It is in
the form of inherited culture that we see folklore elements in every culture.
Religion has a very important role in the formation of identity of each society. It is the shell of
cultural formation. The individuals in a society are born into them. It is through these customs
and practices that social solidarity remains. Pre-existing cultural rules determine our ideas and
behavior through socialization. Societies are made up of structures of cultural rules, established
beliefs and practices to which their members are expected to conform. Each social structure has
unique customs and practices as well as systems of beliefs. Folk arts and beliefs play an
important role in the timely reforms and establishing of these customs and practices. Another
element that contributes to the creation of identity is ethnicity. All our folk art and Culture forms
have an ethnic nature.
Religion and ethnic culture take an important role in the formation of the social structure. Our
society consists of structural units based on structural pluralism. Folk arts and folk songs play an

34
important role in their survival. They stand in relation to the power system in every society.
Power system is related to caste, gender and economic status. Folklore opposes the power
structure and compromise with it. They preserve ethnic identity also.
Gender has an important role in creating social identity. Idealistically there is no gender
inequality in the world of Bangladeshi rites and ritual. A social system based on male domination
is prevalent in Bangladeshi society. Folk-art forms have other great social missions. The most
important is the collective conscience they produce. The integrity of individuals and equipping
them to meet social challenges are a part of this. If the influence exerted by this collective
representation is lost, that loss leads an individual to the loss of his self. This is the most
important among the complex crises faced by modern society. In the folk-arts there is no
distinction between the actor and the spectator. As the spectator himself becomes a part of the art
the artist becomes a part of social integrity.
Influence of Folk Culture in Social and National Life:
Bangladesh has a strong folkloric and cultural heritage. Bangladesh‘s folk art has been greatly
influenced by various ethnic groups that have resided in the land throughout the years.
Floor and wall paintings or nakshi kantha are included in folk art while the products of potters,
carpenters and weavers as well as articles made of bamboo, cane, shola, conshell, ivory and bell
metal are referred to as crafts. There are however some folk arts that cannot be categorized
separately. For instance an earthen pot on which fish, leaves and other designs have been painted
as well as some mats designed of trees, birds, mosques etc. are a combination of both art and
handicrafts.
Rickshaw painting is another indigenous form of art that is unique to this region. In Bangladesh,
“R. K Das” has been considered a pioneer of rickshaw painting since the 1950s. His subjects
range from movie stars to depictions of village life and colourful cityscapes to pictorial
interpretations of social issues to flora, fauna and animals. His work is exceptional in its
combinations of colour and imagery. His painting ―A Colourful City‖ looks striking on both
white and blue walls. It is strongly reminiscent of our culture and tradition.
―Sarachitra‖ is another popular form of art. Sara refers to the lid of a clay pot. Folklorist
“Gurusaday Dutt” once wrote that there was a time when each and every house in Bengal was
like a little piece of art. Women of the households were known to decorate their walls, doors and
windows by hand paint.

35
Literature:
 “Bangladesh is known as a land of music. The folk music of Bangladesh, in particular, is
deeply connected with the psyche of the country and resonates through the villages of
Bengal.” - Ferdousi Rahman
http://www.thedailystar.net/arts-entertainment/music/folk-songs-bangladesh-73961
 [Folk art, consists of] work done by ordinary people in the course of their lives, work
seldom thought of by those who make or use it as art at all.”
- Howard S. Becker Art Worlds, 1982 p. 245 as quoted in: John Ross
Hall, Mary - Jo Neitz, Marshall Battani (2003) Sociology on Culture. p. 196.
https://en.wikiquote.org/wiki/Folk_art
 “Folk-art signifies the poetical, musical and pictorial activities of those strata of the
population which are uneducated and not urbanized or industrialized.”
-Arnold Hauser, cited in: Bihar Tribal Research Institute (1961).
Bulletin of the Bihar Tribal Research Institute. Vol. 3-4, p. 144”
https://en.wikiquote.org/wiki/Arnold_Hauser_(art_historian)
 “It is said that my art has some typically Nordic features: the curving lines, the
convolutions, the magical masks and staring eyes that appear in myths and folk art.
This may be. My interest in the dynamics of Jugend style probably also comes into
it.”
-Asger Jorn Tecken för liv, tecken till liv [Signs of life, the characters to life], interview by
Marita Lindgren-Fridell, in Konstrevy (1963).
 “Angels may be very excellent sort of folk in their own way, but we, poor mortals in
our present state, would probably find them precious slow company”. - Jerome K.
Jerome
http://www.quotes.net/quote/6249
 “Folks with a gloomy past, (a past with vacuum) can fill it when the right time
comes”.

36
https://www.poetrysoup.com/quote/8102_folks_with_a_gloomy_past,_(a
 “A sympathetic Scot summed it all up very neatly in the remark, You should make a
point of trying every experience once, excepting incest and folk dancing”. ― Arnold
Bax
https://www.goodreads.com/quotes/90216-a-sympathetic-scot-summed-it-all-up-very-neatly-in
 “Common folk, not statesmen, nor generals nor great men of affairs, but just simple
plain men and women, can do something to build a better, peaceful world. The future
hope of peace lies with such personal sacrificial service. To this ideal humble persons
everywhere may contribute.” ―Henry Cadbury
http://izquotes.com/quote/339699
 “Common folk didn't have last names in the 8th and 9th centuries.” ―Chelsea Quinn
Yarbro
http://izquotes.com/quote/202870
 “Never attempt to teach a pig to sing; it wastes your time and annoys the pig.” ―
Robert A. Heinlein, Time Enough for Love
https://www.goodreads.com/work/quotes/75443
 “A cultural tourism segment, is the evocation of the past and inherently about visions
or understanding of the present, and a key justification for the preservation of both
material cultures and traditional practices, in what they can tell contemporary
communities or tourists about themselves and others. It is something of a paradox of
modernity that at the same time that relentlessly seeks modern people, also hankers
after something older, more authentic, or traditional.” - (Appadurai 1981; Cohen
1988; Edensor 2002; Gold and Gold 1995; Halewood and Hannam 2001; Lowenthal
1985; McIntosh and Prentice 1999; Urry 1991; in Knox 2008: 256).
http://docplayer.net/33089088-Folk-dancing-tourism-and-identity-a-relationship-in-de-
construction.html

37
 “The mobilization of traditional practices in a tourism context often results in the
presentation of apparently compromised, essentially limited, and highly
commoditized forms of culture” (Graml 2004; MacCannell 1976, Wang 1999).
http://docplayer.net/33089088-Folk-dancing-tourism-and-identity-a-relationship-in-de-
construction.html
 "At the back of all literature stretches the unmapped and immeasurable would of oral
tradition,” - Professor GH Gerould, the famous folklorist of the contemporary world.
http://archive.thedailystar.net/suppliments/2006/15thanniv/celebrating_bd/celeb_bd15.htm
 “Bengalis love to celebrate their language, their culture, their politics, their fierce
attachment to a city that has been famously dying for more than a century. They resent
with equal ferocity the reflex stereotyping that labels any civic dysfunction anywhere in
the world 'another Calcutta.” - Bharati Mukherjee
https://www.brainyquote.com/quotes/quotes/b/bharatimuk503336.html
Developing and Preserving Folk Culture:
Folk culture is the part of our culture. But day by day this culture facing declination. Preservation
and development of culture has become the necessity. Because with the help of preservation and
development of folk culture, our next generation will be able to know more about our folk
cultures.
Preserving such mixed culture represents a complex challenge for all of us. Manuscript and
archival materials and historical objects must be stored in appropriate containers, on specialized
shelving, and in specific climate conditions to prevent their deterioration. Museum can be used to
store and show different types of cultural product from different groups. Cultural organizations
like Bangla Academy, Bangladesh National Philatelic Association, Bangladesh Shishu Academy,
Bangladesh Short Film Forum, Bangladeshi Photographers, Bishwo Shahitto Kendro,
Chhayanaut etc. can help in developing folk cultures like folk art, folk song, folk dance, folk
literature etc.
Who plays the role:
The task of the state is to ensure that our intangible and tangible folk cultural heritage is valued,
preserved and developed, and to maintain the long tradition. There are a lot of people in our
society, who are actively involved in folk culture, take care of our heritage, the traditions but the
fact their number is in decline. Popularity of folk culture guarantees the survival of ancient
customs also in modern times. It is the duty of each and every citizen of Bangladesh to play role

38
in developing and preserving folk culture as well as different cultural organization also help in
preserving and developing folk culture. The Government also should give a look into the current
situation of folk culture and help them to nourish by giving proper investment.
Folk Culture and Tourism:
Folk culture means a group of cultural elements characteristic for the so-called lower layers of
society, passed on between generations.
Cultural tourism means all the actions of tourists connected with culture in its wider sense – the
material and non-material cultural heritage of a region.
Tourism has become one of the most important systems for transmitting culture worldwide. Its
history also indicates a successful custom of transmitting tradition. Through the help of tourism,
people from different countries able to know the culture of other country’s. They can know how
other country’s people live, they react. They can also adopt good things from the host countries
culture.
Among all of the folk culture folklore is the nearest in the field of tourism. Folklore, and its
various expressions, namely folk dance, is considered as an intangible cultural heritage or living
heritage.
The relationship of folk culture with tourism, places it in a tourist satisfaction process. It also
helps to boost up the economy of host country. Globalization is the term used in folk cultural
tourism. Because with the help of tourism, culture can spread from one country to another.
Promotion of the folk Culture in the Tourism Sector:
Folk culture stores the historical memory of human societies. It contributes to national identity
and its scientific and cultural value makes the country recognizable and improves its image. The
concept for development of folk culture should pay special attention to the symbiosis between
culture and tourism. The development of cultural tourism is an important factor for the
sustainable economic development, profit and jobs generator and a fundamental factor for image
building for any tourist destination. It’s positive socio-cultural effects are the local production of
goods and souvenirs, promotion and revival of local art forms – folklore, gastronomy. At macro
level the sustainable development is associated with an increase in the population welfare and
reducing poverty and inequality. Historical heritage, authentic culture, traditions and peculiarities
of the host communities must be respected and their preservation and development must be
promoted. Tourism is a sector using the folk culture of mankind and bearing its contribution to
its enrichment. One of the main problems of the strategic management of tourism is related to the
sustainable development of the anthropogenic resources that are irrecoverable. This requires the
development and use of specialized approaches, methods and techniques for their conservation,
tourist interpretation and use. Protection of folk culture is a systematic process of discovering,

39
researching, identification of cultural property and archaeological sites, as well as their
promotion. It also includes their documentation, registration, conservation, restoration and
adaptation.
Protection of folk culture is a function and responsibility of authorities and institutions organized
in a national system at national, regional and local level.
Achieving the cognitive goals largely depends on the promotion of the folk culture and the
development of cultural tourism – its marketing, permanent advertising and specialized
commercial publications; popular educational programs and multimedia products available for
the formation of knowledge and attitude for trips to tourist sites – cultural valuables.
The protection of intangible folk culture aims at protecting, conserving and respect for:
 language traditions and expressions including language as a carrier of the intangible
cultural heritage;
 performing arts;
 social practices, rituals and festive events;
 knowledge and practices concerning nature and the Universe;
 Knowledge and skills associated with traditional crafts.
Conservation and display of local cultural and historical culture can be included in the marketing
strategy of the enterprise and be directed towards improving the quality of life in the region
through development and promotion of small businesses (small hotels and restaurants) as a
sustainable local economy. Sample investment activities can be directed to:
 support to existing groups for presentation of folk customs – purchasing costumes,
musical instruments and audio – visual equipment;
 Creating a permanent and travelling exhibition of the local ethnographical and historical
culture with application of audio – visual computing.
Local and folk cultures are among the strategic factors for sustainable development of tourism,
including hotel and restaurant business as a part of the touristic product. They gradually turn
from an object of preservation into an instrument for development. The integrated approach to
the protection and valorization of the local and folk culture is an important precondition for
increasing the attractiveness of regions both for investment and for development of quality living
environment while preserving regional identity.
What can be done?

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 Explore local traditions, customs, rituals, festivals, myths and legends, lifestyles, crafts
and create and promote own programs or thematic tourism products.
 Create and offer products tailored in scope and time with the calendar of local events–
fairs, festivals, gathering.
 Arrange and offer a visit of a traditional local feast (not necessary in a village) with ritual
dishes and folklore. It is good to know the calendar of various local festivals, fairs,
traditional celebrations.
 Arrange demonstrations of local crafts - pottery, wood carving, and hand loom weaving
etc.
 Offer visitors the opportunity to try to make a small souvenir by themselves
 Arrange demonstrations of local folklore - songs, dances, rituals, legends.
Promotion and Marketing Strategy by Bangladesh Tourism Board:
Since its inception in July 2010, the Bangladesh Tourism Board has been resolutely promoting a
positive image of Bangladesh to the world. A few examples of promotion and marketing are;
School of Life:
On the occasion of the ICC Cricket World Cup 2011 and for the first time in the history of
Bangladesh a Television Commercial titled ‘Beautiful Bangladesh (School of Life)’ was
produced in order to be transmitted during the opening ceremony. The Television Commercial
was viewed by an audience from more than 180 nations which was highly praised and
appreciated all over the world. Later on this television commercial was aired in various tourism
film festivals and it had obtained the best television commercial award in many events. Such a
feat has been able to uplift the image of Bangladesh in front of the global audience.
ICC Cricket World Cup 2011:
The 2011 Cricket World Cup was jointly hosted by India, Sri Lanka and Bangladesh. The
International Cricket Council had selected the Bangladesh Tourism Board as the local partner for
the 2011 Cricket World Cup in Bangladesh. The Bangladesh Tourism Board had completed the
assigned responsibilities with great success.
Informational Kiosks were setup at various locations during the World Cup. The Hazrat Shahalal
International Airport in Dhaka, the Sher e Bangla National cricket Stadium in Dhaka and the
Shaheed Zahur Ahmed Stadium in Chittagong were prime locations for tourists. These
informational kiosks were setup in order to attract the international spectators of the cricket
matches; for marketing the tourism aspect of Bangladesh to the foreigners.
Digital Marketing Campaign:

41
The Bangladesh Tourism Board had created its own website www.tourismboard.gov.bd in order
for digital marketing campaign. Another website labeled www.visitbangladesg.gov.bd which
was created during Cricket World Cup 2011 was Re-vamped for the digital marketing campaign.
Through such activities of Bangladesh Tourism Board it had led to greater creation of awareness,
shaped a better image and developed cultural tourism potential for Bangladesh in the global
scenario.
Bangladesh Folk Festival 2011:
In order to promote the enriched folk history of Bangladesh to the foreign media journalists
covering the ICC World Cup 2011, Bangladesh tourism board arranged a day long program
named “Indigenous Fair / Folk Festival”. The arrangements of the festival were quite
spectacular. The participants were the renowned folk fashion houses of the country, local
cuisines, and historical facts on Dhaka, Sundarbans voting stalls etc. There were 40 different
stalls given by 40 different ventures that mainly display and sold their products in the fair. Most
of them came from different parts of the country to show their own regional tribal culture and
tradition. Folk Festival was highly covered by both print and digital media of Bangladesh. Some
of the foreign media also covered the information about the program into the internet. In a short
it can be said, it was a successful event from the perspective of both foreigner and local crowd.
Participation in Foreign Tourism Exhibitions:
In order to increase the attractiveness of Tourism in Bangladesh and to promote the country, the
Bangladesh Tourism Board launched “Visit Bangladesh Campaign”. In order to facilitate this
project the Bangladesh Government had allocated a total of Sixty Six Crore Taka. The
Bangladesh Tourism Board had taken various initiatives under this massive project. In order to
promote the tourism industry and to market Bangladesh abroad, the Bangladesh Tourism Board
had participated in various foreign tourism exhibitions where there was a high amount of
potential tourists. All of the tourism exhibitions had participation from private tour operators as
well as providers of other services. By participating in various international fairs, the image of
Bangladesh is highlighted to the global community, and it shall have a positive impact for the
tourists who are seeking to make Bangladesh their travel destination.
Bangladesh Premier League 2011:
The inaugural Bangladesh premier league hosted by the Bangladesh Cricket Board was co-
sponsored and collaborated by the Bangladesh Tourism Board. The Bangladesh Premier League
was an International Standard T20 Cricket Tournament which had lots of well-known foreign
players as participants. Such participation of foreign players also drew many foreign spectators.
As a benefit of being co-sponsors in an international sporting event such as the Bangladesh
Premier League the Bangladesh Tourism Board was able to showcase the tourism industry of
Bangladesh to an international audience through various television commercials.

42
Through such activities of Bangladesh Tourism Board it had led to greater creation of awareness,
shaped a better image and developed tourism potential for Bangladesh in the global scenario.
World Tourism Day 2011 observed with the theme ‘Tourism – Linking Cultures’:
World Tourism Day was observed across the country like elsewhere around the globe with a
target to attract one million foreign tourists by 2014. The president, Zillur Rahman, and the
prime minister, Sheikh Hasina, issued separate messages on the occasion. In his message, the
president urged all concerned to project glorious culture of the country to the international level
for the promotion of tourism sector. In the separate message, the prime minister said Bangalee
culture had developed with the heritage of thousands of years. ‘The diverse life style of the
people of different communities has enriched the culture, that has given Bangladesh a unique
dignity in the field of tourism,’ she said. Members of the tourist society of Dhaka University
made the rally lively by wearing traditional customs and carrying different folklore gears.
Figure-32: Rally on World Tourism Day 2011
Asian Tourism Fair 2011:
A three-day regional tourism fair was held on Dhaka city from September 29th till 1st October
with a view to making common tourism-promotion strategies for the Asian countries
highlighting their own unique regional characteristics.
The ‘Asian Tourism Fair 2011’, first of its kind in the country, focused on the prospect of
tourism industry in the region to attract tourists from across the world to eye-soothing tourist
attractions in the region.
The fair was jointly organized by the Parjatan Bichitra and Bangladesh Tourism Board (BTB) at
the Bangabandhu International Conference Center (BICC) with the support of the Ministry of
Civil Aviation and Tourism and Bangladesh Parjatan Corporation (BPC). Apart from showcasing

43
services, three seminars on prospects and problems of tourism sector in the region and cultural
functions were be organized during the three-day fair.
11th SAARC Trade Fair & Tourism Mart 2012:
According to the decision of SAARC; the Bangladesh Tourism Board in conjunction with the
Export Promotion Bureau from 30th March to 1st of April launched a three day long exhibition
titled 11th SAARC Trade Fair & Tourism Mart-2012. This was the first time in South East Asia
when such a grand scale exhibition was successfully completed. The Finance & Tourism
Ministers from all the SAARC Countries, the top officials from national tourism organization
and various stakeholders from different levels of the tourism industry enjoyed the SAARC fair.
The three day long fair was inaugurated by the Finance Minister of Bangladesh, Mr Abul Maal
Abdul Muhit. Various business organizations and tourism organizations from all the SAARC
Countries participated in the SAARC Fair. Three International Seminars were held regarding the
potential of Bangladesh Tourism at the fair. Also a rally was held in Dhaka City in order to
promote the event to the general public.
Such an event helped highlight the image of Bangladesh even more and it showed that
Bangladesh was more than capable enough as a venue country for such high profile event.
Impact of Folk Culture on Tourism:
Folk culture and tourism together have become major drivers of destinations attractiveness and
competitiveness. Cultural factors have the broadest influence, because they constitute a stable set
of values, perceptions, preferences and behavior that have been learned by the consumer
throughout life. Cultural factors distinguish one human group from others by their beliefs,
language, rituals, art, technology, style of dress, religion and political systems. The reason being
culture is the soul of travel.
Culture is where the charm of tourism lies. A large number of cultural tourism resources are rich
and natural beauty undoubtedly is appreciated by the tourists of different countries. Secondly,
people’s faith in a foreign country’s civilization, folk customs and curiosity is a typical human
psychology seek by tourists while visiting different locations. The impacts of folk culture on
tourism are-
Folk Culture is the source of prosperity and development of tourism- Being attracted by a
country’s culture visitors come and they spend lot of money on the specialized artistic and many
other things available over there. It develops that location and make it prosper as well.
Achieves social and economic benefits by cultural exchange- Cross cultural exchange
includes knowledge exchange, enhance mutual understanding, capital and personnel flow etc. for
more economic benefits.

44
Greg Richards, Garrett Nagle, Sanchey Malviya, Sudhir Andrews and many more opine that
culture and traditions have a strong relationship with each other. Tourism is undoubtedly the
most important industry for every country. Besides providing revenues it also carries the culture
of a place to far off places. Countries or places which have a varied culture promote themselves
by focusing their culture or a heritage and become attractive tourist destinations. A person travels
from one place to another to enjoy, to relax and get peace of mind. Change of place for a time
being makes a person readjust in his / her daily schedule easily. Culture not only includes the
traditions and rituals of a society of place but it also includes the celebration of various festivals
which are well known all over the world. Cultural attractions include history, music, dance,
handicrafts, pilgrimage, heritage language and cuisine as well. Tourists prefer to travel at places
which are affordable, safer and provide full value for their money. Identifying such needs of
tourists, the governments of different countries provide tourists ample space for all of their
needs. Heavy amounts are being spent on promotion of tourism related Ad campaigns so that it
continues to be an attractive tourist destination. Elderly people travel to locations where they can
have quality medical treatments at economical price. Young and energetic people would prefer
locations filled with thrill and adventure. In such cases locations with beaches or mountains are
the most preferred locations. Since people want full value of their money so they choose a
location which is economic together with full of entertainment.
The positive impacts of tourism on culture with criticalreviews
Tourism also has some positive impacts on culture. Lantfant (1995) said that tourism as a last
resort, keep the unnurtured or even closed cultural activities through identifying, developing,
rediscovering, and linking them to the international market.
Cultural preservation
Tourism provides funding to preserve and conserve cultural heritage, gives back cultural pride,
revitalise
customs & traditions as well as opens door for cultural sharing and learning (Smith, 2009). Most
of the common positive impacts of tourism on culture include increasing cross-cultural
interaction; understanding, maintaining and keeping local culture, arts, crafts and traditions;
empowering host communities; and strengthening cultural values. Tourism has opened the door
to establish the cultural
identities like houses, clothes, and megaliths dress as their group identity and recognition of
political power through photographing and marketing these identities in promotional materials at
provincial level. People believe tourism has facilitated them in manipulating economic and
political capital to gain power of church and position in state administration. On the other hand,
due to the social recognition and power, conflict and crime might be increased in the major
tourist destinations (Tsoudis, 2001).

45
Building institutional infrastructure
Tourism certainly increases awareness among local people those are not involved in their
traditional arts & crafts business. By building some institutional infrastructure, tourism keeps
these cultural components alive (Witt, 1991).
Derived demand
Another good example of maintenance of local host traditions is found in John M. Knox &
Associates, Inc.’s (2004) conducted a case study in Hawaii, where formal tourism sector derived
the demand of native Hawaiian culture in hotels. After a meeting, public and private sectors
together decided that restoring and maintaining native Hawaiian cultural themes would benefit
the industry more than importing and developing new components. Consequently, demand for
native Hawaiian as entrepreneurs for story telling by using original terms with honour and pride
increased. Now native Hawaiian say that tourism opens space for them to show something
valuable to the world that can contribute to human wellbeing. But entrepreneurship led money,
power, and desire to earn more, which contributed to change in local habits, increased crime,
gambling, and alcoholism and inspired commercialisation of culture (Rátz, 2000).
Motivating collectivism
Through social contact people sometimes come out of self centric position to collectivism. The
city people of Jaipur were really self-centred, but due to the intervention of tourism social
contact between people was increased in order to show a good image to tourists. As a result, they
learnt about other nations and came out of misconceptions about the colonialist nations in India.
This social contact helped to show morality, honesty and hospitality to strangers. This case study
is done by Singla (2014). It is true that understanding between hosts and guests reduce
misconceptions and distance (Hunziker 1961). Social contact also helps to build friendships
between hosts and guests, who use positive word of mouth about hosts after returning home
(Boissevian, 1979). Since the positive and negative outcomes of tourism depend on human
factors, including the attitude and behaviour of tourists and hosts during the interactions, so
tourists, tourism and hosts are jointly responsible not solely (Spanou, 2007). Therefore, finding
out ways to manage the impacts of tourism could be a good job instead of involving in the
debate. The important management areas are overall socio-cultural impact management and the
host-guest encounter points like: goods and service purchasing, face to face interaction for
sharing ideas and information, side by side at activities.
The negative impacts of tourism on culture as noted in the contemporary
literature with critical Reviews
Acculturation effects
Acculturation is a process of adaptation and adjustment (Ebin et al., 2001). When local people
entertain tourists, they adapt tourists’ needs, attitudes and values and ultimately start following

46
them (Nash, 1996). This often happens in a less sophisticated society where, stronger culture
dominates the weaker (Burns, 1999). But, the diffusion of innovation of cultural components in a
social framework depends on compatibility, advantage, and complexity of the cultural objects
(Lew, in press). Particularly, the youth are vulnerable to this impact and women are ahead of
their male counterpart in this regard (Ghuman, 1997). By following tourists’ lifestyle young
people bring changes in the material goods they use and in their gestures and postures, which is
defined as demonstration effects by Burns (1999).
The Effects of Tourism on the Folk Culture:
Tourism has enormous effects on the folk culture. Tourism helps to support, cultivate and
preserve traditional and ethnic culture, in much the same way that eco-tourism helps the
environment. Tourists spend money to visit places with cultural interest, watch traditional dance,
song, other performances, which helps to preserve this culture, dance, song and native dress.
Tourist collect and purchase native arts and crafts, weavings, clothing, wood carving, swords,
spears, shields, etc. Which encourages craftsmen to revive or preserve these traditional skills.
Places like Hawaii, Tahiti, Greece, Spain, etc. All have well preserved culture, traditions, native
dance, native dress that is part of everyday life, due in large part to the thriving tourist industry
that makes these skills and traditions profitable.
Cultural preservation:
Tourism provides funding to preserve and conserve cultural heritage, gives back cultural pride,
revitalize customs & traditions as well as opens door for cultural sharing and learning (Smith,
2009). Most of the common positive impacts of tourism on culture include increasing cross
cultural interaction; understanding, maintaining and keeping local culture, arts, crafts and
traditions; empowering host communities; and strengthening cultural values.
Strengthening the local cultural value:
Tourism helps to strengthen the local cultural value by promoting them through the tourists.
Tourists come to see the culture of a particular country and promote them to their own country as
they feel attracted to the culture of the host country.
The Effects of the Tourism on the Local Community:
Socially tourism has a great influence on the local people. Tourism can be both a source of
international amity, peace and understanding and a destroyer and corrupter of indigenous

47
cultures, a source of ecological destruction, an assault of people’s privacy, dignity, and
authenticity.
Possible positive effects:
Social contacts between tourists and local people may result in mutual appreciation,
understanding, tolerance, awareness, learning, family bonding respect, and liking. Residents are
educated about the outside world without leaving their homes, while their visitors significantly
learn about a distinctive culture. Local communities are benefited through contribution by
tourism to the improvement of the social infrastructure like schools, libraries, health care
institutions, internet cafes, and so on. Besides, if local culture is the base for attracting tourists to
the region, it helps to preserve the local traditions and handicrafts which maybe were on the link
of the extinction.
 Interaction with the tourists, mix with people from diverse backgrounds which creates a
cosmopolitan culture in the region.
 Developing positive attitudes towards each other
 Learning about each other’s culture and customs
 Reducing negative perceptions and stereotypes
 Developing friendships
 Developing pride, appreciation, understanding, respect, and tolerance for each other’s
culture
 Increasing self-esteem of hosts and tourists
 Psychological satisfaction with interaction of each other’s culture.
 Increasing cross cultural interaction
 Understanding, maintaining and keeping local culture, arts, crafts and traditions
 Empowering host communities
 Strengthening cultural values.
Possible negative effects:
Tourism has the power to affect cultural change. Successful development of a resource can lead
to numerous negative impacts. Among these are overdevelopment, assimilation, conflict, and
artificial reconstruction. While presenting a culture to tourists may help preserve the culture, it
can also dilute or even destroy it. The point is to promote tourism in the region so that it would
both give incomes and create respect for the local tradition and culture. There are also both
negative and positive impacts of tourism on the local ecology. Tourism often grows into mass-
tourism. It leads to the over consumption, pollution, and lack of resources.
 Increase tension, hostility, and suspicion between the tourist and the host community
 Tourism often grows into mass-tourism. It leads to the over consumption, pollution, and
lack of resources

48
 The intrusion of outsiders in the area may disturb the local culture and create unrest
among the people.
 The local people may copy the lifestyles of tourists through the demonstration effect and
the result could be loss of native customs and traditions.
 By following tourists’ lifestyle young people bring changes in the material goods they
use and in their gestures and postures, which is defined as demonstration effect
Community Attachment and Involvement:
Community Involvement in Folk Cultural Activities makes the preservation of the culture
stronger and it is also a promotional step to promote the beauty of our folk culture to the
outsiders. Lacking of community involvement in cultural activities have caused social break
between the community and the city, consequently results in social incoherence and declining
sense of identity. Among major constraints in maintaining cultural legacy is the declining interest
of cultural expressions by young generations. There should be a strong connection between the
community and their cultural experiences and expressions and this connection should be a social
process.
A community of a place is involved in shaping the cultural identity or significance of the place.
Cultural identity is categorized under two elements which are behavior and achievement of the
people. The behavior is specified into behavioral patterns at different times and situation,
inherent or simulation behavior, morals, traditions and way of life.
There are some organizations who work to preserve the Bangladeshi folk culture and its’ origin.
Pally Baul Samaj Unnayan Sangstha (PBSUS):
Pally Baul Samaj Unnayan Sangstha (PBSUS) is a cultural nonprofit organization who
participates in various social development issues. It relates the Folk artist/Baul artists in
different social and economic activities through organizing musical programs highlighting
various social issues.
The three fifth of population Bangladesh lives in the rural areas where people are very fond of
folk and mystical music. It’s very easy to reach them through the folk & Baul song for
awareness rising.

49
Bangladesh’s traditional folk musics like baul, batiali, bawaiya, lalon geeti, among others not
only represent their rich cultural heritages, but they also speak the lives and livelihoods,
traditions, cultures, love and affection, faith, rituals, and customs of this great civilisation.
People here are traditionally very open minded and cultured. For centuries, people of this land
affectionately nurtured and developed such musics, which have become integral parts of their
lives. They often become refuge for the hard working, poverty-striken and disaster-affected
people of this country. Among all the regions of the country, its haor belt (haor is a wetland
ecosystem in the North-eastern part of Bangladesh which physically is a bowl or saucer-shaped
shallow depression, also known as a back swamp. The haor basin is an internationally important
wetland ecosystem, which is situated in Sunamganj, Habiganj and Moulvibazar, Sylhet,
Kishoreganj, Netrokona and Brahmanbaria districts of Bangladesh) is particularly famous for its
folk cultural heritages. Numerous sufi-saints and bauls since generations have enriched the
tradition of folk songs of the haor region. Unfortunately, with the wave of dominant so called
modern songs and cultural imperialism in the country, its rich folk songs are getting
marginalised.
UNESCO in 2005 has enshrined Bangladesh’s ‘Baul songs’ in its Representative List of the
Intangible Cultural Heritage of Humanity. A newer window of opportunities has been created
through this declaration. A few initiatives, mostly in personal capacities and because of large
number of TV channels bauls are getting some importance, although such initiative are mostly
ritualistic in nature.
The immediate expected aims of the project are to collect numerous baul songs which are never
collected and preserved from the haor belt of the country; publish the collected songs for wider
audience; enlist important baul singers and train them on the need for preserving this rich
tradition; and make baul songs more popular among the youths and communities through stage
performance.
It is anticipated that through the intervention mentioned in this project description, the
Bangladesh haor folk culture will be vibrant and will brand Bangladeshi culture in outer world.
Bangladesh Shilpakala Academy (BSA):
National Academy is the principal state-sponsored national cultural center of Bangladesh. It is
the national academy of fine and performing arts. The academy was established through an act of
Parliament in 1974 as a statutory organization under the Ministry of Cultural Affairs. But
subsequently the Act of 1974 of Bangladesh Shilpakala Academy was amended through a new

50
act of Parliament in 1989. The academy is headed by a Director General. The overall direction
for the functioning of the academy is provided by an Executive Council (Shilpakala Academy
Parishad) headed by the Minister in charge of the Ministry of Cultural Affairs.
With the dream of practice, expansion and preservation of rich culture of Bangladesh, Father of
the Nation Bangabandhu Sheikh Mujibur Rahman Established Bangladesh Shilpakala Academy
(National Academy of Fine and Performing Art) on 4th July 1974. Rising of anti-liberation war-
power after the assassination of Bangabandhu, activities of Bangladesh Shilpakala Academy
were stumbled. Fortunately in recent years Shilpakala Academy with its innovative events and
colorful programs is on the way to fulfill the dream of Bangabandhu Sheikh Mujibur Rahman.
At present, Shilpakala Academy spread out its activities all over the country. It has brought the
revolution of culture. Expansion of cultural practice, Establishment of 486 Upazila Shilpakala
Academy, preservation of folk culture, ensuring culture for all, introducing Bangladeshi culture
to the international world and finally organizing the liberation war based cultural events
Bangladesh Shilpakala Academy is contributing a lot. Now Bangladesh Shilpakala Academy is
the holy land of culture, center point of all cultural personalities, artists and people. Bangladesh
Shilpakala Academy now acts as a mirror of Bangladesh. That’s why this institution is our pride
and light house of spirit.
Figure-33: Bangladesh Shilpakala Academy (BSA)
Bangladesh Folk Art & Crafts Foundation:
Bangladesh Folk Art & Crafts Foundation was established on 12th march in 1975. The main
aims and objectives of this organization is to collection of the traditional monuments of

51
Bangladesh folk art and crafts elements along with preservation and exhibition artistically and to
restore for the present and future generation.
A nation’s self-identity is born by its own culture. Virtually, folk art and culture is the driving
force of our nationalism. Just after the war of liberation and the achievement of sovereign and
independent Bangladesh the culture has got its own dignity and status. For the development of
folk art and culture Artist Zainul Abedin started the establishment of the foundation. Now the
foundation has two folk art & crafts museums to hold our thousand years old traditional &
perpetual resplendent beauty of folk culture and handicrafts. It has also an eye catching lake,
Ponds, library, Documentation Center, Sales Center, Cafeteria, three Craft Bridges, one Craft
Village and a Craft Art Village.
It is located 24 km from the capital Dhaka in the away of Dhaka – Chittagong highway. There
are 17 members of the board for this foundation. Honorable Minister of the Cultural ministry is
the chairman of the board and Director (Appointed by the government) is the chief executive of
this organization.
The Major functions of Bangladesh Folk Art & Crafts Foundation is to preserve traditional Folk
Art & Crafts of Bangladesh; to create training facilities on traditional folk are & crafts; to
establish folk are & crafts Museum in different regions of the country; to establish a crafts
village at Sonargaon; to conduct research on folk art & crafts and publish the research findings;
to identify areas of cooperation and chalk out joint programs on traditional on traditional folk art
& crafts with other countries; and many more.
There is a Library and documentation center in this Foundation.
Figure-34: Sonargaon Folk Art and Craft Museum
Bangladesh Udichi Shilpigoshthi:

52
Udichi Shilpigoshthi is one of the pioneers of such an approach. This organization uses folklore
music as a tool to motivate people to stand against all kinds of inequality. It is one of the largest
progressive voluntary organizations in the country, and plays a crucial role in democratic and
cultural movements; the Bangladeshi government awarded it an Ekushey Padak prize in 2013 for
its contribution to Bangladeshi life. The organization was founded by two of the greatest
revolutionary artist-cultural-activists, Satyen Sen and Ronesh Dashgupta. Udichi works towards
the establishment of an equitable society through folk elements such as songs, dance, recitations,
drama, film, fine arts and literary works.
Figure-35: Drama performed by Bangladesh Udichi Shilpigosthi
Rupantor:
Rupantor works to raise awareness of human rights, violence against women, and children’s
rights issues. To do this, they revived a near-to-extinct folk “pot song” from the southern part of
Khulna, near the Sundarban impact zone, in 1996. The organisation mixes exotic folk forms with
witty lyrics, and is able to reach lots of people – and deliver its message – through this unique
form. Rupantor has resuscitated more than 10 folk forms and reformed them to spread
development messages to 1.5 million people annually.
Figure-36: Popular Media & Folk Theater by Rupantor

53
Bangladesh Street Theatre Council:
Talking about folk movement from a peacebuilding perspective, street theatre plays a crucial
role. The Bangladesh Street Theatre Council use the medium of street theatre to reach out to
people with the message of confronting extremism, protecting women from violence, and
supporting unity against racial aggression. It continuously performs all over Bangladesh and
spreads a message of sustainable peace.
Figure-37: Weeklong Street Theatre Festival organized by Bangladesh Street Theatre Council
Benefit of Local People:
The folk art of Bangladesh has been largely contributed by the rural women because of the
aesthetic value as well as the quality of their work. A key reason behind it was that in most cases
their art has been non-commercial, whereas the folk art produced by men has a commercial value
attached to it. Thus, artists like blacksmiths, potters, cobblers, painters, goldsmiths, brass-smiths,
weavers earn their livelihood from what they produce while traditionally, from the past, Alpana
artists or Nakshi kantha needle women were working within the home and received no monetary
recompense for their labor.
1. Vital for the development of village economies:
The artisan sector (or traditional village industry) is a primary, small scale, village based
manufacturing sector, which provides the essential manufactures, functions and services that
cater to local communities and now by default, is increasing export markets. It is thus a critical
and essential element for the village economy and its self-sufficiency. Artisans contribute their
knowledge of local materials and give form to human experience.
Most importantly in any traditional culture, ‗folk arts or crafts signify such levels in an art
language as folk poems and lore do in literature or folk songs and dances in the performing arts –
levels which involve larger numbers of people in a society in creative expression, and, in the

54
process, keep their sensibility counts high. So a society in which folk arts are alive is a more
colorful and creative society than one in which art activity is confined to a privileged few.
Culturally, the artisan sector has in the past seen its enlightenment and peak of sophistication, as
for instance the Dhaka Muslin. This was acquired through generations of masterly craft
practices, which have become hallmarks of quality and superiority in handmade items. A
rediscovery of that excellence will not only give a thrust to village economies, but will contribute
substantially towards the nation‘s progress.
2. The Current Status of village economy through Folk Culture:
Due to the industrialization ‘process there is also an influx of factory made cheaper or surpluses
into the system. Because of this, tens of thousands of these artisans and crafts people have lost or
on the way of losing their livelihoods.
In Chittagong, 70 odd families of potters were out of business as with the introduction of cheaper
and more durable plastic products in the market their work had become redundant. Most of these
potters have landed up selling their labor, collecting fuel wood from adjacent forests to be sold in
nearby markets, making bidis, pulling riskshaws, or hawking. The same is the fate in other
places, for handloom weavers, leather workers, metal workers, and so on. Power-loom made
textiles, factory made shoes, plastic and nylon nets, and other products, are causing a death knell
to the industry. Most of the artisans are today struggling for survival. Many have given up and
have moved away from their traditional occupations. Others cling on desperately not knowing
what else to do or whom to turn to. Their skills evolved over thousands of years are being
dissipated and blunted. Capital-intensive production processes and technologies are ever
increasingly replacing human friendly processes. The same set of people who once were the
backbone of the village or nation‘s economy, providing much of the products and services, have
moved away from their traditional occupations and are being reduced to sell their labor, or do
things which do not take into account their expertise or skill levels. They also happen to be
amongst the poorest of the poor.
Moreover-
• Creating jobs and businesses.
• Increasing tax revenues.
• Diversifying the local economy.
• Creating opportunities for partnerships.
• Attracting visitors interested in history and preservation.
• Increasing historic attraction revenues.
• Preserving local traditions and culture.
• Generating local investment in historic resources.
• Building community pride in heritage.

55
• Increasing awareness of the site or area's significance.
These are the benefits of local people through folk tourism.
The Challenges of Folk Cultural Tourism:
 The trend towards process of commodification, or the culture of consumption.
 When a community’s culture is the substance of what it offers visitors, protecting that
culture is essential. So a major challenge in folk cultural tourism program is ensuring that
increased tourism does not destroy the very qualities that attract visitors in the first place.
 A challenge results not only from visitor impact, but also from visitor expectations of
quality products and services. While the possible loss of authenticity, resulting from
attempts to meet the requirements of the market place, is a serious issue, it must be
acknowledged that many cultures are well served by the increased interest.
Possible Threats of Folk Art:
The threats are diverse. They may include:
 Loss of variation and consequent loss of opportunities for creativity and change
 Cannot keep pace with mass production of same type of products
 Availability of same type of products in low cost.
Existing Status of Folk Arts and Culture:
The twenty first century, the age of globalization, is marked by the incidence of cultural crisis. It
is the era in which many tribal/folk art & cultural forms are either losing originality, or passing
into oblivion. Globalization has exerted adverse influence in the social, economic and cultural
arenas. Especially our indigenous cultural exclusivity is getting decimated. Our traditional
culture is being replaced by a homogenized and westernized culture which is fomented and
fostered by rampant consumerism. This has a negative impact on the third-world countries. Its
vitiating influence is destroying cultural identity.
Globalization has exerted its voracious effect on society, culture, economy and policy, even up to
regional level. The contemporary global trend exhibits that globalization is vigorously catalyzing
the promotion of the popular culture and discouraging the indigenous folk art and culture. The
retardation in the growth and development of folk culture has resulted into multi-faceted
disastrous consequences like dilution of cultural identity, fragmentation of social-cohesion and
finally a negative impact on rural economy. The massive transformation that globalization has
engineered in the cultural arena, is that the indigenous culture of the various parts of the entire

56
world are gradually coming under the clutches of an all-pervasive omnipresent macro culture. As
a result, the exclusive micro cultures that retain our cultural identity are on the verge of
extinction. Indigenous cultural forms are becoming vulnerable to subjugation by a synthetic
macro culture which is toppling
The socio-cultural structure of the regions having weaker economy.
Global culture is maliciously affecting the cultural identity of the backward society. Since our
study was concentrated among the tribal communities of the impoverished areas, we have
witnessed the fact that incisive permeation of a synthetic global culture has exerted an injurious
influence upon these areas disrupting the community structure, social structure, and cultural
structure. Globalization has facilitated the infiltration of consumerism and hedonist culture. This
is gradually effacing our cultural identity at the local, ethnic, and national levels.
Globalization has emerged as a tempestuous deluge, engendering the diverse cultures of our
backwards areas, decimating stable localities, displacing people under the pressure of market
force and developing a market-driven, brand-conscious cultural propensity among the people of
the society. A globally endorsed monoculture is silently creeping into the mind of the common
people thus effacing the interface between locality-defined cultures which had constituted our
identities.
Suggestions:
Standing within the frame of ideology of pluralism, the social scientists and researcher have to
endeavor to establish a strong interactive relationship between tradition and modernity. Society
and culture – both are dynamic entity; it is usual for society and cultural characteristics to be
modified with time. Besides, the process of assimilation of valuable social and cultural features
enriches the society and culture. Effort of updating, revision and refinement of folk forms are
desirable to befit it with time; but it should be restricted to a limit, beyond which the folk
cultures may be ‘sold’ to the popular cultures.
Under such circumstances we put forward the following research-governed Suggestions for
ensuring the prevention of tribal/folk art and culture from passing into oblivion:
1. Commercialization of folk art and culture for their profitable running is one of the
instrumental ways to survive the folk forms;
2. Conservation of their innate beauty, inherent quality and core ideology is essential;
3. People are required to be informed with the values, styles, forms of different folk
performing arts. Effective campaigning and publicity of these elements may actualize a
mass attraction towards folk art and culture;
4. The pattern of the presentation of these tribal/ folk art and cultural forms should be
modified and strategically altered to make them more vibrant to meet the recreational
demand of the present generation;
5. The colleges and universities in corresponding areas should incorporate this particular
dance form as respective course of studies;

57
6. Special allowance may be arranged as a scheme under rural development planning for
economically weaker section of folk performers and artisans.
However, the tribal/ folk artists and cultural practitioners themselves should also upgrade their
skill and acclimatize with the current socio-economic and socio-cultural trend of the broader
society. While formulating the creative compositions like folklores community song & dance etc.
the tribal/folk artists should modify the content of composition or pattern of expression in order
to gratify the need and demand of the common people of the community as well as broader
society.
Conclusion:
The field of folk culture involves creative hobby activities that are based on folk traditions;
heritage culture; intangible cultural heritage; study, preservation and recording of national and
local cultural traditions; public culture events; activities of societies; courses and supplemental
training. The task of us is to ensure that our intangible cultural heritage is valued, preserved and
developed, and to maintain the long tradition of song and dance festivals.
There are a lot of people in our society, who are actively involved in folk culture. It is an income
source of many people as well as main tourist attraction of our country. So we have to preserve it
for our own sake.
References:
 http://en.wikipedia.org/wiki/Bhatiali
 http://www.tvsl-bd.com/index.php/about-bangladesh/culture-a-heritage
 http://en.banglapedia.org/index.php?title=Folk_Art_and_Crafts
 https://jbpv.wordpress.com/2009/10/25/folklores-the-heart-of-bangladeshi-culture-and-
heritage-part-four/
 https://en.wikiquote.org/wiki/Folk_art
 https://en.wikiquote.org/wiki/Arnold_Hauser_(art_historian)
 http://www.quotes.net/quote/6249
 https://www.goodreads.com/quotes/90216-a-sympathetic-scot-summed-it-all-up-very-
neatly-in
 http://izquotes.com/quote/339699
 http://izquotes.com/quote/202870
 https://www.goodreads.com/work/quotes/75443

58
 https://www.researchgate.net/publication/275903988_Community_Involvement_in_Cult
ural_Activities_Theories_and_Concepts
 http://www.patafoundation.org/?p=1514
 http://offroadbangladesh.com/places/bangladesh-shilpakala-academy/
 http://culture360.asef.org/organisation/bangladesh-folk-art-and-craft-foundation-2/
 http://en.banglapedia.org/index.php?title=Folk_Culture
 http://www.udichi.org.bd/
 https://en.wikipedia.org/wiki/Bangladesh_Udichi_Shilpigoshthi
 http://www.rupantar.org/
 https://www.ongood.ngo/rupantar-social-welfare-organization/2759
 https://www.insightonconflict.org/es/blog/2017/08/peacebuilding-potential-folk-culture-
bangladesh/
 http://responsalliance.eu/rplearn/?page_id=101
 http://tourismboard.gov.bd/activities/promotion-marketing/
 http://en.banglapedia.org/index.php?title=Folk_Dances
 http://sos-arsenic.net/lovingbengal/culture.html
 https://www.google.com/search?biw=1366&bih=613&tbm=isch&sa=1&q=Conch+Shell
+craft&oq=Conch+Shell+craft&gs_l=psy-
ab.12..0l3.196058.196058.0.197115.1.1.0.0.0.0.115.115.0j1.1.0....0...1.2.64.psy-
ab..0.1.115.6dQC6vL5cfg#imgrc=_
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ducts&oq=Bamboo+products&gs_l=psy-
ab.12..0l4.65158.65158.0.65928.1.1.0.0.0.0.123.123.0j1.1.0....0...1.2.64.psy-
ab..0.1.122.3x1W6dm7WWU#imgrc=llCRAJXII9iwQM:

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