Middle Eastern Cinema Explained

Middle Eastern Cinema is an amalgam of multiple film industries of Bahrain, Egypt, Iraq, Jordan, Kuwait, Lebanon, Palestine, Oman, Qatar, Saudi Arabia, Syria, United Arab Emirates, and Yemen. It can’t be studied as a single entity because each nation has its own film industry with a distinct history and cultural influences. But here also, space is dominated by Egyptian cinema as it has the largest commercial film market in the middle east. In recent years, the Middle East has given some of the finest films to the world. The emergence of the Middle Eastern Film Industry has not only put it on the global lens but has also contributed towards debunking the religious and cultural stereotypes surrounding the Middle East. They have used their films to reclaim their voice and to tell their story from their own perspective. Middle eastern cinema touches upon the issues of gender, identity, the physical and psychological consequences of the wars and conflicts.

Problems Faced by Middle Eastern Film Industry

There is no doubt that  Middle Eastern Cinema has come a long way and is producing some of the finest works. But the road is not easy. The film industry faces a lot of problems because of the political and cultural institutions in the country. The governments in the majority of Arab nations do not consider the film industry as an important sector. Filmmakers with immense talent, often have to struggle because of a lack of opportunities and funds. According to Farida Marei, “The government usually does not give any help or gives a little in rare cases. Cinema is not one of the priorities on their agenda as they look at cinema as pure entertainment and therefore it comes at the bottom of their list”. Lack of government support is one of the main reasons why so many brilliant film ideas don’t materialize as the filmmakers don’t have the necessary means.

Censorship and demonisation of films and the film industry is another major issue that plagues the Middle Eastern film industry. Middle Eastern countries have stringent censorship laws. Countries like Bahrain, Iran, Saudi Arabia, Egypt, Turkey, United Arab Emirates, censor their media and films heavily. In fact, Turkmenistan runs the third most stringent censorship program in the world and all foreign publications and non-government libraries are banned. These censorship policies apply to the film industry as well. A lot of films fail to get the approval of the government and hence never reach the audiences. According to middle eastern censorship laws, any material dealing with government policies, religion or any kind of sexual activity is prohibited. Farida Marei gives a few examples of the implications of stringent censorship laws- “There are many examples in this direction – the films Five Doors (Khamsah Bab), and The Road of Love (Darb al-Hawa) were both denied approval until the writer removed some intimate scenes. Even after removing them and after the films were ready for screening, they were both banned because there was still too much intimacy (in their opinion)”.

One of the main reasons why these strong censorship laws aren’t going to be relaxed anytime soon is because of the huge support from the masses. In middle eastern countries, religion is very strong and influences the masses. Religion and cultural beliefs could be the major factors why the films are demonised in the middle east by the government and the majority of the population, alike. Northwestern University in Qatar, in partnership with Doha Film Institute, conducted a survey ‘Entertainment Media Use In The Middle East: A Six nation Survey’. The results of this survey are a clear indicator that the people of the middle eastern nations heavily support the censorship laws and the restrictions on the media and entertainment industry. According to the survey-

“The large majority of the people surveyed believe entertainment should be more tightly regulated when it comes to violent and romantic content, and that some scenes should be deleted or whole programs banned if some people find them offensive (about seven in ten agree with each of these statements). Conversely, less than a third expresses the opposing opinion that films and television shows should be shown in their entirety even if some people find the content inappropriate (29%).”

The survey also uncovers the extent to which cultural beliefs influence the censorship laws as- “About eight in ten of those with strong feelings about cultural traditions support the regulation of violent and romantic content and also support banning or deleting offensive content, compared with two-thirds of those who are less concerned with preserving their cultural traditions”.

Conclusion

Even though the situation seems pretty bleak, there is still a ray of hope. Despite the stringent censorship laws and various other restrictions, The Middle Eastern film industry continues to produce some of the most profound and moving films. Even though the filmmakers have to face a lot of problems in order to produce good quality cinema and to ensure that it reaches a wide range of audience, they haven’t given up. A lot of filmmakers have repeatedly challenged the strict laws of the government in court. And a lot of times the results have favoured them. This is a great sign that middle eastern cinema is flourishing and will soon overcome the dilemma of censorship and demonisation to realise its full potential.

Featured Image: Still from Ghadi by Amin Dora

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So, the whole concept of K-pop dominance all over the world is known as “Hallyu”, a Chinese word that stands for the Korean wave of pop culture. The continuous growth of Hallyu resulted in increased distribution and consumption of Korean content through platforms such as YouTube, Netflix, and SNS. Even the incredible and first-ever success of director Bong Joon-Ho’s film Parasite also helped in Hallyu content and the Korean film/entertainment in the industry.

A Little Into Hallyu Background and Present State

In 1992, the Korean Culture and Tourism Institute send a copy of a drama to play into the other countries, with the support of the South Korean government. The government helps these industries to go and other things also. The projects that helped in the spread of Hallyu are – boys over flower, my seesy girl, Swiri, Autumn in my heart also the songs SHINee’s ring ding ding, PSY Gangnam Style, Rain’s bad boy. These become popular not only in the parts of Asia but also among the youth of other countries like the US and the UK. When it comes to Hallyu there are five main factors one shouldn’t forget. The impact starts with lifting the ban on foreign travel for Korean citizens, along with Korean chaebols restructuring. Samsung also considers another main factor of the Korean wave. The rise of Samsung was another era for the South Korean economy and Hallyu. Branding of Korean companies and banning censorship lows, giving opportunities to other citizens to come and learn K-pop is another highlight of the K-pop era. As Barak Obama said the entertainment industry of K-pop in South Korea is the government’s priority.

Every Korean brand promotes its ad along with a K-pop idol or actor, which helps when the protagonist of the ad goes overseas, they help the brand to promote overseas. The wave of Korean pop culture has great support from the government from the past. Korean pop culture has a great impact on Asian countries like China, Singapore, Thailand, and Japan. The Hallyu itself a mandarin word. The K-pop industry is joined by trainees from China, Thailand, and Japan. Many of K-pop group consists of Chinese, Thai and Japanese members along with Korean members with their nationality abroad, which helps them to gain popularity among the countries and reach achievements. Many Korean idols, singers, actors have also signed many sub-labels in other countries due to the increase of Hallyu. The rising popularity of the entertainment industries not only promoting Hallyu but also giving a high rise to the Korean government.  The growth of the Korean wave over the last two decades is fantastic and giving a major impact on the Korean economy.

K-popnomy

When it comes to the K-pop music industry, five to eight K-pop music labels are offering a huge range in the Korean economy. Such labels are Big Hit Entertainment, SM Entertainment, JYP Official, Starship Official, and many more. The chairman of SM Entertainment, Lee Soo-man told a recent seminar that he believed k- pop would grow through technological innovation and even Hallyu celebrities in all powered avatars could even become part of our lives. According to Korea foundation president Lee gum, Hallyu has not only become a global content but an asset to South Korea’s pubic diplomacy. CNN published the article with the headline after the sudden popularity of K-pop song Gangnam Style by PSY released in 2012, “Korean wave of pop culture swipes across Asia.”

Being the uppermost country with the determined goal to become the most popular culture leading exporter South Korea along with its government supporting the entertainment industries to grow higher and reach audiences all over the world. Also, we can say it’s the way to develop the soft power of the country. With the blessing of the biggest cultural phenomena across Asia and another part of the globe Hallyu, Korea expands its businesses, culture, and country image.

Korean merchandise exports to a country respond strongly to lagged TV program exports to the same destination but mostly in sectors characterized by consumer products. These include UN Broad Economic Categories like food and beverages, and other consumer goods Korean annual exports reports, Korean products such as cosmetics, food, fashion, electronics, and mobile phones are exports at a higher rate, which helped in raising the bar by 34.7%. The exports also include the merch by the K-pop idols, groups, the brand product they used to promote also exports at a high rate. Such change of consumer preferences has occurred through several ways as supported by numerous survey results and reports by the MoFA (Ministry of Foreign Affairs), KOTRA (Korea Trade-Investment Promotion Agency), and KOFICE (Korea Foundation for International Culture Exchange).

First, foreign consumers form favorable national images of Korea while watching the dramas as they naturally experience a chance to learn and appreciate the Korean culture. In the past, people tend to associate national images of South Korea negatively with the Korean War or North Korea, but nowadays such images are giving way to the charming, fun, and lively images of entertainments and state-of-the-art technologies. Such a change of national image enhances consumer preferences for products with the “Made in Korea” label. The entertainment industry helps in the economy by their image, ad, and role in the different brands and also promoting the tourist view of South Korea.

Along with the South Korean government promoting Hallyu the K-pop being the most strong soft power to the country making South Korea a destination of investment and commercial zone for many businesses all over the world. The massive popularity, immense government support, and running television station, broadcasting station helping the K-pop industry to provide a stable and strong economy to the South Korean even in the time of Covid-19.

K-pop Boyband BTS’s Impact on the South Korean Economy

The growth of the Korean economy has gotten great support from a seven-member South Korean boy band BTS. Along with BTS topped the Billboard hundred music chart, the boy band has also sold millions of albums and is one of the most-watched artists on YouTube. Not to mention after the British boy band One Direction, BTS has also sold out their stadium shows very quickly. If BTS maintains the same position, it can generate $30 Billion in economic value in the next years. With the help of BTS, the Korean economy is reaching a sky-high achievement.

According to the Hyundai Research Institute the impact of the Korean economy last year was estimated as US$ 4.93 billion. With such an impact BTS has been given the name of “walking conglomerate”. This also helps other K-pop artists to earn the spotlight with governments’ interest in the K-pop music industries.

After BTS, GOT7, Monsta X, Black-pink, Stray kids, NCT, Exo, Seventeen and Txt also obtained a rank in the Billboard music charts. Defying even the covid crisis, The labels of BTS continue to increased the spike in revenues in the music along in the mainstream economy.

International success and immense popularity of BTS has become the strongest boy band and power among all K-pop labels and groups. the strongest soft power BTS not only supporting the economy but also making highlights of every K-pop label to the audience. The whole K-pop industry not only giving a boost to its economy but also dominating the world with its cultural effects like make–up, hairstyles, bangs, clothing, specific styles.

Personal Impression on K-pop

K-pop is not just music for the government of South Korea, it has become a power source and a major factor in the country. With the growing popularity of BTS and other K-pop group over the deeds not only helping the country to promote the artistic side of the country as well as becoming a major superior of the country. The audience of K-pop usually are teenage girls and boy.

The entertainment industry of Korea is specially designed at a different level than in other countries. Besides making music and dancing on them, they also have reality shows of their life and other variety shows which helps them to promote the way they are living, the food they eat, the product day use which in turn attracts the viewers, specifically fans to the consumption of the items their favorite idol and celebrity using. This has a great impact directly on International exports and the economy of South Korea. Many people from other countries are very interested in the Korean language and their way of living to learn. Many universities have added the course of Korean languages for the pupils.

So far the way BTS along with other K-pop star climbing to sky-high achievement and the enormous popularity of the Korean dramas having, it can make a high rise in the economy of South Korea, giving them more strength to top the soft power and grow as one of the powerful frugality not only Asia but also all over the world.

Conclusions

Hereby K-pop along with the strongest soft power in South Korea giving a crucial power to its economy. The rising of new K-pop groups and the international success of Korean dramas not only dominating the world but also smashing the new records of spreading Hallyu.  BTS being the most important part of the economy of Korea also gets the plus points of not joining their military due to their world tours and accumulate GDP support. The K-pop culture strengthens the Korean economy along with its cultural diplomacy.

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One of the most important issues faced by the local artisans during and even before this pandemic is the lack of financial support. These artisans have the minimum amount of money to invest in buying their raw materials and other requirements. Even though the government provides loans at very low levels of interest, it is still a handsome amount for them to be able to pay at such low levels of income. The second issue faced is the illiteracy and lack of knowledge of the newly developing technological world. In this competitive world, they lack the knowledge of technology that could help them be a part of the globalization. The third and especially important issue faced by these local artisans is that they work in the unorganized sector. Since they work in the unorganized sectors, they do not have any regular security of the job. They can run out of customers anytime and there is perhaps nothing they can do about it. They do not have the guarantee of their income or job any time of the year. They are vulnerable to exploitation and do not have the support system that they deserve. Since most of the local artisans are women, it poses even a greater threat to their livelihood. There are a lot more restrictions and dependency when we talk about women artisans in rural areas. They lack financial independence and are subject to a lot of misbehaviours. These aspects have to be kept in mind while developing policies for this sector, considering the importance it holds in providing employment to a large section of our society. (Muyiwa, 2020)

The global market of handicraft was valued at US$ 400 billion before the pandemic. The handicraft industry in rural economy registered an annual growth rate of 15% consistently over the last decade. However, India’s share in the global market for handicrafts is only 2% which shows us the state of our local artisans in the global market. The pandemic, however, has only worsened the situation and led to a global crisis. For these artisans, the pandemic has been the worst nightmare as they have lost their source of income for months together and they have no one to rely on. 

Government Initiatives

There have been several measures taken by the government to support the handicrafts industries and the local artisans in rural areas over the years. The handicrafts sector had already taken a hit during the demonetization and the damage seemed irreparable without government’s support. This people employed directly or indirectly in this sector need support from the government now more than ever before. (Tyabji, 2020)

However, to discuss the various revival strategies for the handicrafts sector, it is firstly important to note some of the significant existing government policies so far:

• A Scheme for Promoting Innovation, Rural Industry and Entrepreneurship (ASPIRE) was initiated to help the startups in this sector coping with the existing competition. The government also set up markets for these known as Gramin Haat.
• Various skill development programmes have been initiated by the government for the upliftment of the local artisans. 
• In 2017 the government also initiated India Handmade Bazaar to help the local artisans get better exposure to the markets.
• ‘Village to market’ linkage of products is being assessed by the government to make a smooth facility for the goods to reach the markets
• The Export promotion council for handicrafts is working extensively to promote Indian handicrafts in the global economy.
• Schemes like ‘Deen Dayal Upadhyaya Grameen Kaushalya Yojna are some of the skill development programmes in the country for rural economy handicrafts.

Revival Strategies

With the onset of the pandemic, the local artisans lost their income almost altogether. To combat this loss, the government has to step in and take even more pro-active measures to revive this sector. 

• One of the important steps that the government can take is to help these local artisans gain digital knowledge. The world economy has changed tremendously over the years and digitalization has picked up the most. To tap the global economy and improve upon the exports of handicrafts, what we need is digitalization. 
• E – retail has become the new market. Anything and everything can be sold or bought one retail. So, to provide exposure to these handicraft products, the focus should also shift to online marketing. Online marketing strategies can be developed by the government.
• Brands like Tjori, Ethnic Kraft etc which sell handmade local products should be encouraged. Such brands do exist but are very limited than what we need for this sector. 
• Skill development programmes should be initiated more regularly to help the artisans hone their talent.
• Another important step that the government can take is to develop programmes for the artisans to enhance their technical knowledge with machines. Better machinery can be used to speed up production and also save labor. 
• Since most of the local artisans are generally women, (Data shows that 55% of the local artisans are women), it is important to ensure that they do not face any kind of exploitation. 
• Since the local artisans have little or no money to start their proper enterprises the government should increase financial aid to startups of this sector. To boost this sector and encourage more and more artisans to start their enterprises the government will have to increase its spending on this sector the most. Even though the government does provide them loans with lower rates of interest but it requires more than that. Even the lower rates of interest are quite high for them to be able to pay. 
• Another important measure for the government would be to exempt this sector from GST. The GST that was implemented in 2017 has been eating in a significant share of the earning of these local artisans and it is only fair to exempt them from this tax. Their earnings are anyway very less and can only accommodate ‘hand to mouth’ and the GST on top of that has been a nightmare for these artisans.
• Keeping in mind the growing competition, these local artisans are losing out even more due to the lack of exposure. Since these artisans belong to rural areas, they do not have the required knowledge of the markets and thus cannot tap suitable consumers for their products. The government can still work for increasing their visibility with the urban markets where they can sell their products at a decent price. 
• Illiteracy has also been a major issue with these artisans due to which they get easily exploited by the middlemen. Here, the government can intervene in two ways. One, by providing at least the minimum education required for these artisans to work in this sector and the second by curbing the role of middlemen. Middlemen tend to exploit these artisans the most, by shaving their profits and earning money through them.
• The handicrafts sector is essentially a part of the unorganised sector causing even more problems to keep a track of. However, there should be policies to secure their livelihood and protect them from further damage. A proper record should be maintained of these businesses and supervised regularly to check on the needs of these artisans as they are essentially the representation of our rich culture. 

Implementation of the Strategies in Rural Economy- A Way Forward

It is of utmost importance that this sector is taken care of since it has already been hit hard twice in the recent past, once during the demonetisation and the other during this pandemic. The handicrafts sector is the second largest employer of the country after the agriculture sector which shows that a large number of people are attached to this sector.

Implementing these strategies would require a lot of government involvement and also a lot of government spending which is the only way forward from here. These strategies will help the handicrafts industry in realising its full potential. If there is proper implementation of these strategies, it can also boost the demand for these products and that can actually help revive this sector. It is going to take time to come out of the aftereffects of this pandemic but we need to boost the sectors that need the most attention. If left on their own, the local artisans will lose their livelihood and the country will lose a large chunk of its culture and art. The government needs to redefine a lot of norms and be more inclusive while formulating any policy for the country. It’s the root of our country that matter the most right now. Rural India is where a maximum of Indians reside and it is important to develop and boost the small economy businesses of the unorganised sector, one of which is the handicrafts industry.
The government is working towards reviving this sector but there needs to be a more pro-active involvement of the government in terms of policies, programmes, financial aids etc. It is important that we come up with more such strategies and develop a stronger rural India that represents our strong culture and defining history. 

References

(2020). Retrieved 24 December 2020, from http://www.handicrafts.nic.in/pdf/NHDP%20(final)%20Anex-III%20dt%2001.01.2016.pdf

Handicraft exporters call on government for support. (2020). Retrieved 24 December 2020, from https://www.graphic.com.gh/business/business-news/handicraft-exporters-call-on-government-for-support.html

Government Intervention In India. (2020). Retrieved 24 December 2020, from https://www.civilserviceindia.com/subject/General-Studies/notes/government-policies-and-interventions.html

Food and Agriculture Organization of the United Nations. (2020). Retrieved 24 December 2020, from http://www.fao.org/policy-support/policy-themes/rural-poverty-reduction/en/

Jha, T. (2020). A CHEER TO ARTISANS ON THE BANKS OF GANGES IN THE NORTH TO KAVERI IN THE SOUTH – WISER WORLD. Retrieved 24 December 2020, from http://www.wiserworld.in/a-cheer-to-artisans-on-the-banks-of-ganges-in-the-north-to-kaveri-in-the-south/

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Bhutan is a Leading Power in Promoting Environment Conservation

As the dominant powers of the world in 21^st century are scrounging ways to halt forest depletion, Bhutan has become the first nation of the world to design specific constitutional obligations for the people to preserve the environment. As per the legislation, atleast 60 percent of the nation must remain under forest cover mandatorily at all times.

There Are No Traffic Lights in Bhutan

In case you visit Thimpu, the capital of Bhutan, then don’t worry about flouting traffic rules because there are no traffic lights to mediate the traffic. Instead of the usual red, yellow and green signals, there are traditional outposts at the intersection on the roads. At these traditional outposts, a policeman stands, mediating the traffic manually, because Bhutanese prefer to have things in a much traditional way.

Here Happiness is Valued Over Money

Bhutan is one of those rare nations of the world where the quality of life is of utmost importance. There Gross Happiness index is more important than Gross National Product. The former king of Bhutan, Jingme Singye Wangchuck, is accredited to introduce the tradition of introducing the Happiness Index. This concept highlights the importance of non- economic aspects in analysing the wellbeing of the people of a country.

Bhutan Has a Uniform Dress Code for Entire Country

Bhutanese are obliged to wear their traditional outfit to work as well as to the monasteries. Men wear a traditional outfit called gho, judo styled suit and women wear a kira, an ankle-length dress to work. As formal wear, men don a Kabney draped over the Gho. Kabney is a symbol that signifies different groups or professions, so there are different colours and designs of a Kabney for different professions and levels

Television and Internet Services Made Their Way Into Bhutan Lately in 1999

Bhutan has always considered television and internet as a corruptive force to its national and traditional Buddhist heritage. To this date, it has restricted contacts with the outside world. Bhutan had banned television in 1992. But as the country stood at the threshold of the new millennium, the former king Jingme Singye Wangchuck showed a green signal to the television and internet services.

No Smoking in Public Areas

Bhutan emerged as the first country on the planet which banned smoking and use of tobacco in any other form in public areas such as dzongs, chortens, parks, hotels, restaurants, markets, cinema halls etc. Public transports, such as buses, are covered under non-smoking zones. Any citizen found guilty of selling of using tobacco in public is subjected to imprisonment.

Halt Before You Eat

In case you end up as a guest at a Bhutanese house then be cautious not to start gulping down the morsel immediately after it is served! This is because in Bhutan there is a custom of refusing food for the first time when it is served. The country has an interesting list of customary rules to remember when eating. For example, when offered food, one is supposed to say meshu- meshu while covering your mouth as if refusing the offer. On the second or third offer, you can accept.

An Ode to Matriarchy

In Bhutan, feminism of its own kind blooms. Traditionally, it is women who inherit family property and after marriage, it is the husband who moves in with his wife in the latter’s ancestral place. In the realm of decision making, women have considerable involvement. Their participation is often as high as 70% at grassroots level. A considerable number of women are also present as landowners.

Bhutan- A Safe Haven for Tourists?

As Bhutan is deep-rooted traditionally, culturally and spiritually in Buddhism which propounds the values like love, compassion and peace, the crime rates here are comparatively low. There are fewer occurrences of grave crimes committed statistically.

Bhutanese Celebrate Birthday on New Year

Do you often keep forgetting people’s birthdays? Well if you do, then get acquainted with Bhutanese who do not have to worry about the birthday calendar. In Bhutan, Citizens turn a year older on January 1st of each year. In case they forget their special day due to illiteracy, the government ensures that they do not miss the celebration on the new year. They give more relevance to year than month or date which has given birth to the tradition.

To Conclude…

Bhutan has emerged as one of the stalwarts leading the battle of environmental sustainability. It has emerged as a nation which stands apart from the crowd in terms of the laws and enactments passed by the government. Moreover, what makes this event special is that all these measures have contributed to an increase in the bar of living of the people in general wherein each citizen leads a contended and satisfied life.

Even though these rules and regulations might sound restrictive and bizarre to ordinary people, the Bhutanese have tremendous respect and reverence towards these customs and traditions. They have accepted their land, religion and the constitution with open arms. Even though the tourism industry has boomed in this serene country, there is a lot more left to explore its culture, traditions and natives. Thus this tiny Himalayan kingdom situated amidst misty mountains still remains an enigma for the larger world

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The Ahom and the Koch kingdoms of Assam have made a great impact on the nature of the state of Assam today and hence, it’s culture. The Ahoms which ruled the kingdom from 1228-1826, is the pride of all Assamese people because it’s the only kingdom to have defeated the Mughals, 17 times in a battle. Their process of the cultural assimilation of various tribes like the Naga, Moran, Borahi, Chutiya ad Dimasa people made a drastic change in the socio-cultural life of Assam. The Ahoms eventually developed a new ‘Assamese Culture’, parts of which the natives still follow today, which was a mix of both tribal and non-tribal elements. 

Role of Sankardeva in Assamese Culture

Mahapurush Srimanta Sankardev who was born in 1449, till date, remains the colossal figure for the social and religious reform in Assam, while also being a saint, scholar and a playwright.

One of Sankardev’s most highlighted contribution to the Assamese culture is believed to be the Vaishnava movement of the 15^th century, which had both religious and cultural dimensions. He preached the religion of ‘Ek Sarania Nam Dharma’, i.e, absolute worship pf Lord Vishnu, through the movement of the 15^th century. The partial Hinduization of communities that he achieved along with the creation of new socio-religious institutions like the ‘Namghar’ and the ‘Sattra’, has rightfully granted to him the status of a religious pioneer. But to view Sankardev as only a religious reformer and likewise, his reforms being limited to the religious sphere is an extremely contracted perception of his greatness. The Vaishnava moment in its glory also contributed to newer developments in language and literature, performing and fine arts, and also attempted to incorporate foreign elements into the Assamese culture. Sankardev was also able to give religion an artistic form, often linking religion to music. He, and his disciple, Madhavdeva who was as influential, wrote a number of holy songs known as ‘Borgeet’ which remain an important part of Assamese culture now, even hundreds of years after their composition. Sankardev also composed dramas called, ‘Ankia Naat’ and Sattriya dance was a part of it. 

Therefore, Sankardev and later his disciple Madhavdev, have made an immense and irreplaceable contribution to Assamese culture, the remnants of which still remain till date. 

A culture represented in symbols…

A unique feature of Assamese culture is the significance attributed to symbols in it. This cultural practice of associating one’s pride and identity as an Assamese is age-old but still remains important within the domain of culture. 

Perhaps, the most important and popular symbol of Assamese culture is the ‘Gamosa’ which is a rectangular piece of cloth that has red borders and beautifully woven prints. While literally, the Gamosa means a cloth to wipe one’s body with, it’s significance surpasses that function. It often serves as a gift that is given to respectable people while honouring them, as ‘bihuwaans’, i.e, gifts given during Bihu, at Namghars, etc. So deeply is it entrenched in Assamese culture, that in contemporary times, even Covid-19 face masks, along with different types of clothes such as shirts, etc, are made of Gamosa. It is a scarf like cloth that PM Modi is often seen dorning, although it’s frequent reference to as ‘Modi Gamcha’ sparks controversies of cultural appropriation. 

Further, the ‘Xorai’ which is a traditional object of great respect and is made of bell-metal or brass or silver, also acquires great significance in terms of culture. The Xorai is used as a medium for respectful offerings in Namghars and also used as ornaments in many Assamese homes.

Another important symbol is the tamul-paan (areca nut and beatle leaves) which when offered is believed to be a sign of devotion, respect and friendship. 

FESTIVALS AND CELEBRATIONS IN ASSAM

A state as diverse as Assam, which is home to about 18 tribes (Boro, Dimasa, Chutia, Sonowal, Tiwa, Garo, Rabha, Mising, Karbi, and others) and non-tribal population, celebrates a wide number of festivals.

Bihu

Bihu, which is celebrated three times a year, is the most widely celebrated and popular festival in Assam. 

Bohag Bihu or Rongali Bihu, is celebrated by dancing the traditional Bihu dance and singing songs with loved ones, in mid-April.  In mid-October, Kongali Bihu is celebrated. Following this comes the Harvest bihu, known as Bhogali Bihu or Magh Bihu, which is usually celebrated by feasting and burning of community bonfires, known as ‘mezi’, in mid-January. 

Besides Bihu, Assam also celebrates various other major festivals such as Me-dum-me-phi, which is an ancestor worship festival observed by the whole Ahom community. The Bodos and the Kacharis on the other hand, celebrate the festival of Baishagu with grandeur. 

Assam also celebrates festivals of, Durga Puja, Dol-Jatra, Ambubashi mela, Saraswati Puja, Diwali and all other national and international festivals, perhaps due to the diversity of the population that lives in the region. 

 TRADITIONAL CRAFT INDUSTRIES

Weaving is both a part of women’s lifestyle as well as one of the most important traditional industries in Assam. Assam boasts of having the largest concentration of handlooms and weavers all over India. Mahatma Gandhi, in reference to the traditional weaving industry in Assam, had once praised the women behind the success of the industry, as being able to weave dreams with their looms. These Assamese women, weave silk (of three varieties – eri, muga and pat) and cotton in their looms. Of all the varieties of silk produced, Muga is the most glorious and prestigious one, which is a golden cloth, known worldwide, as being the finest of India’s wild silk. 

Besides the traditional silk and cotton weaves, tribal weaves are also prominent, and as prestigious in Assam. This includes ‘mirjim’ (from Majuli and N.E Assam) on blankets, mattresses and floor coverings and shawls of Karbi Anglong and Dima Hasao districts, Lasingphee blankets of bamboo and cotton in southern Assam’s Cachar district.

Equally important are the traditional bell metal and brass industries of Assam, Hajo and Sarthebari being the primary centre of such crafts. The most prominent objects made in such workshops of ‘kaah’ include Xorais, Botas, and numerous crockery items, etc, which are used for both domestic and religious purposes. 

Further, Cane and bamboo craft, pottery and terracotta, jewellery making, making music instruments, etc, also remain major traditions of art and crafts in Assam. 

TRADITIONAL ASSAMESE CUISINE, ATTIRE, MUSIC AND DANCE

Like the diverse state to which it belongs, Assamese cuisine is also diverse, as it accommodates and satisfies the taste buds of the multi-ethnic population. The traditional Assamese food plate consists of ‘bhaat’ (steamed rice), dal, bhaji (fried vegetables) and a fish or meat curry. Different varieties of meat and fish are a part of the cuisine namely, chicken, mutton, pork, ducks, pigeons, and even silkworms, locusts, eel, wildflower, deer meat, etc.

Some of the most popular and famous items that Assamese cuisine is known for include, ‘khaar’, pura maas mankho, dheakiyasak, pitika etc. Often, the meal must be accompanied by ‘nemu’ which means lemon and the meal ends with the consumption of ‘tamul-paan’. Further, while all this constitutes the main course, Assamese food also boasts of a variety of snacks including ‘pitha’ (made with powdered rice and coconut or other fillings), coconut ladoos, etc. 

Assam tea however remains the single most important beverage which is famous nationally and internationally. It makes an appearance in almost every café nationally. Assam which produces almost half of India’s tea, is known for a deep burgundy red cup of tea with a strong odour. Tea gardens are abundant in Assam, the biggest of which are located in the Upper Assam region

TRADITIONAL ASSAMESE ATTIRE

Moving on to the traditional costumes in Assam, the non-tribal Assamese women wear ‘Mekhela-Sador’ which is a two-piece cloth, that looks almost like a saree, but is not so. The men, on the other hand, wear a Dhoti and drape a piece of cloth known as ‘seleng’ over their body.  

Besides this, the various tribal groups that exist within Assam also have their own distinct and equally beautiful costumes.  For instance, The men of the Dimasa tribe wear a ‘Sgaopha’ or ‘Phagri’ which is a turban-like thing that symbolizes their pride, while the ‘Rigu’ is the standard piece of clothing for women of this tribe. The women of the Bodo tribe wrap their bodies in a piece of cloth known as the ‘Dhokna’.

The diversity of Assam is also reflective in the richness of its folk music, which includes Borgeet, Bihu songs, Mising songs, Karbi songs, etc. Moreover, modern music in Assam is also diverse in the sense that people listen to all sorts of music from the legendary artists like Dr Bhupen Hazarika, Jayanta Hazarika, Khagen Mahanta, to a new younger generation of artists like Zubeen Garg, Papon and others. Guwahati, the capital of Assam, has also seen the growth of newer genres of music like rock, etc. 

Apart from the Bihu Dance, which is performed during the festival of Bihu, Sattriya dance is perhaps the most respected and a prominent part of Assamese culture. It is a major classical dance of India, which was created by Srimanta Sankardeva. The core of these dances is mythological stories, represented in an artistic manner. 

Other dances in Assam also include the Jumu Nach, Ali Ai Ligang Dance, Deodhani, Bhortal Nritya, Bagurumba, Khamba Lim, etc. 

CONCLUSION

Therefore, the land of the red river and blue hills displays a colourful mix of cultures of the multi-ethnic population that resides in the region. This intermixture of tribal and non-tribal elements in its culture gives the culture of the Assamese, a unique character, which beholds and captivates anyone who visits Assam and bonds the people of Assam to their homeland eternally. 

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KYOTO – THE CULTURAL CENTRE

While the rich culture of Japan is prevalent throughout the entire nation, the city of Kyoto in the southwest of the country is regarded as the cultural centre, by the Japanese and foreigners alike, perhaps owing to its historical roots. Kyoto was the capital of the country until the latter half of the 19^th century, and therefore people often perceive it as the birthplace of the Japanese culture. Home to about 2000 temples and shrines along with imperial palaces, and other ancient buildings, it was within this city that several distinct cultural institutions of Japan, like, tea ceremony (cha-no-yu) and flower arranging (ikebana), the theatrical arts of Noh, Kabuki and traditional dance, were initiated and spread to other parts of the country. Kyoto also has housed masterpieces of calligraphy, sculpting, painting and architecture. The population in Kyoto still remains involved in such activities, creating masterpieces that are deemed as national treasures, conducting tea ceremonies, and having an active theatrical life with annual processions by Noh performers, etc. The three festivals that the citizens celebrate in great grandeur and pride are Aoi in May, Gion in July and Jidai in October.

Aoi Festival

Gion Festival

Jidai Festival

The Japanese population along with the whole world, has embraced the culture of Kyoto, which can be implied by the recent popularity of the phrase, “Sekai no Kyoto” (The World’s Kyoto). The popular tourist destinations like the many number of Shrines and temples (Fushimi Inari Shrine, Gingaku – Ji Temple, Kinkaku – Ji temple, etc ), the Arashiyama Bamboo grove, and others such as Gion and Pont-cho street attract tourists from all over the world, and even the native Japanese who try to go to the city atleast once in their lives.

RELIGION – Buddhism and Shintoism

Japan has seen the growth of two major religions, i.e, Buddhism which was brought about by foreign forces and the native religion of Shintoism, both of which have peacefully co-existed. However, the  division between followers of Buddhism and Shintoism is far from watertight, as most often, those Japanese who follow Buddhism, sometimes also declare themselves as followers of Shinto. Therefore, any claims of the population being divided solely into Buddhists and Shintos do not hold.

Shintoism

Tori Gate

Fushimi Inari-taisha

Shinto, i.e, the way of the Gods (Kami) is the oldest religion in Japan and possibly the most followed, as evidence suggests that about 80% of the Japanese identify themselves as followers of Shinto. There are no historical evidences that suggest the identity of the founder of the religion, and a lack of sacred texts and any sort of formalized teachings, indicate the fact that unlike Buddhism, it’s not an organized religion. The cornerstone of Shintoism is the belief in Kami, i.e, the spiritual elements of nature that exist in waterways, trees, mountains, and geographical regions.  The only foundation of the religion in conclusion is therefore, reverence of peace and harmony, respect for all elements of nature and the belief that being in nature means a closer access to Kami.

How has Buddhism influenced Japanese culture?

The Great Buddha (Daibutsu) at Kōtoku-in, Kamakura, in Kanagawa Prefecture, Japan

Buddhism which officially came to Japan around 525 BC, has been able to acquire a large following in the country, with about 90 million of the population identifying themselves as Buddhists. While the religion faced a certain conflict between pro-Buddhist and anti-Buddhism factions, it was successful in establishing its foundations in Japan and subsequently changed the political structure, technological fields and brought in a myriad of sophisticated cultural practices like dance, music, a new writing system and also Buddhist art, that have undoubtedly had a greater impact on the Japanese culture as a whole.

‘Matsuri’ – THE CULTURAL FESTIVALS OF JAPAN

A very important and lively aspect of Japanese culture, is the many number of ‘matsuri’ or the cultural festivals, which bring in cheerful spirits for the native population, who often enjoy the festivities wearing colourful and mostly, traditional clothes and getting involved in the activities the festivals are known for. Research suggests that Japan witnesses as many as 200-300 festivals in a year, all of which are big, fun and crowded events, and are deeply entrenched within the Japanese Culture.

These festivals which occur over the course of a year, differ greatly in terms of the season in which they occur.

SUMMER: The festivals in summer are known worldwide for their use of fireworks or what the Japanese call, Hanabi. These fireworks light up the sky in bright colours and the people often dressed in their Yukatas and Kimonos,  gather in large numbers to watch the show.

Summer Fireworks in Fukuoka

SPRING: In Spring, the Cherry blossoms or Sakura trees turn pink which in itself is a site of majestic beauty. The spring festivals are centered around these trees, where people from different regions come and enjoy activities under the cherry blossoms either in a park, a castle, etc. The Hirosaki Cherry Blossom Festival is perhaps one of the most famous of such festivals that are conducted in Japan.

Cherry Blossom Festival

Tokyo during spring

WINTER AND FALL: Besides Summer and Spring, cultural festivals of unique natures are also practiced in Winters and Fall. In winter, for instance, the Sapporo Snow Festival and Nozawa festival attract thousands of visitors and so does the Fujiwara Autumn Festival in fall.

Nozawa Fire Festival

The festivals, therefore, are of varied nature, some being calm and peaceful, where people visit shrines and temples, while others are lively events for the Japanese to enjoy with their loved ones.

What role have ANIME and MANGA played in Japanese culture?  

Anime, as the name suggests, is Japanese animation which is either hand-drawn or computer-animated. The diverse fan base of Anime, which is worldwide,is perhaps because of it’s very distinct characteristics that distinguish it from animation produced in any other parts of the world. Manga, on the other hand, are more like Japanese comics or Graphic novels which are read from right to left, while western comics can only be read left to right. Often, those mangas which are able to acquire a large fan base, like Naruto, One Piece, Dragon Ball, Haikyu, etc, are converted into anime. Both Anime and Manga, over the years have become a very crucial aspect of Japanese culture.                                            

Still from Grave of the Fireflies (1980)

Manga Comic

The unconventionality associated with anime and manga, is perhaps a contributor to it’s popularity among adults, and not just kids. These stories that are available in all genres like action, romance, slice of life, rom-com, supernatural, horror, etc, break the notion that anime is meant only for kids. The fan base remain hooked on each episode or chapter, due to the unpredictability of what might happen next.

In Japan, anime and Manga, has become a way of life for ‘Otakus’ (which however is an offensive word for the Japanese) a term used for those hardcore fans of these elements, to the extent that they give up their social lives and withdraw into their homes watching anime and playing video games. The emotional attachment to these forms of entertainment becomes evident when numerous instances of funerals held for anime characters come into light. But anime in Japan is not only limited to the private sphere. It’s presence is abundant everywhere, on trains, buses, advertisements, etc. Moreover, anime and manga also provide a deep insight into Japanese culture, in both covert and overt ways. Most animes have episodes dedicated to the cultural festivals, fireworks, cherry blossoms, otaku culture, Japanese way of living, tea ceremonies and so on. The town of Akihabara near Tokyo, is believed to be the Anime centre, the streets of which are lined with numerous anime shops selling anime merchandise of various kinds. There are also many themed cafes like maid and butler cafes, which attract a lot of tourists. Even outside Akihabara, it is not uncommon to find many huge or life-size statues that give tribute to anime characters and their creators. Anime themed parks, which are a sight of awe for tourists as well as the natives are also abundant in Japan, the most famous of them being the Naruto theme park, Attack on Titans theme park, etc. Often, streets of Japan are also lined with cosplayers, impersonating characters from famous animes. In fact, cosplaying is also an important part of Japanese culture, which has immense importance, as evident by the numerous cosplay competitions held throughout the nation. Anime conventions are also likely events in Japan which are attended by Anime fans from Japan and all over the world.

TRADITIONAL ARCHITECTURE, CUISINE AND ATTIRE

Traditional Japanese Architecture is attributed to a distinct aesthetic, that can be attributed to some unique characteristics used in the making of these homes. The dominant feature of traditional Japanese homes is wood, that is preferred in the making of the house over other materials such as stone, perhaps owing to the unpredictability brought about by earthquakes. Wood is respected by the Japanese to the extent that the wood in homes remain in their natural forms and is not concealed by paint. The doors in these houses are fusuma, or sliding doors while the windows are movable screens (shoji). The floors in Japanese houses are covered with tatami mats, made with straw, that along with the wood provides a distinct smell to the traditional Japanese houses. Outside the houses, are what may be called verandahs, which are a wooden extension to the house, which are often elevated from the ground, sometimes covered with shutters.

Japanese cuisine basically comprises of regional and traditional foods, and primarily focuses on combining steamed rice (gohan) which is their staple with one or more main and side dishes and miso soup or pickles. While this typically describes the traditional meal, there are also many other variants of food that the Japanese are known for like, Sushi, Ramen, tempura, Curry rice, Yakitori, etc.

Sushi

The traditional attires of Japanese men and women, like all other aspects of culture, are also varied. The Japanese Kimono is the most iconic and famous traditional piece of clothing in Japan. Yukata is another traditional attire, which is mainly dorned during summer, due to the breezy material, unlike Kimono which are reserved for more fancy and formal occasions. Other pieces of traditional Japanese clothing include Haori, Jinbei, Hakama, etc.

Traditional Japanese Clothing

Japanese women donning Kimono

INDIA AND JAPAN – THE CULTURAL TIES

India and Japan have continued to maintain strong cultural ties, ever since the arrival of Buddhism in Japan, from India. The countries have often engaged in mutual cultural exchanges and also follow some similar cultural traditions and ideas along with Buddhism, like the commitment to Democracy, pluralism, open societies, tolerance, etc. The Namaste India Festival which is held in Tokyo every year is aimed at realizing the agreement between the two countries about holding cultural festivals, on 2007, which marked the 50^th anniversary of the Indo-Japan cultural agreement. These festivals aim at bringing an insight of each country’s culture, that includes food, music, souvenirs, clothes, etc, to the other.

PM Narendra Modi with PM Shinzo Abe performing Ganga Arti in Varanasi

CONCLUSION

The above quote by Hector Garcia, in  ‘Ikigai: The Japanese Secret to a Long and Happy Life’ therefore sums up the very dynamic and cheerful  Japanese culture, which has fascinated many souls over the years. Therefore, it wouldn’t be an exaggeration to say that the Japanese culture which comes to life in it’s cultural festivals, anime, cuisine, architecture, an unbreakable link with nature and various other quirky things that people associate with Japan have been able to become an object of awe and interest for people all over the world.

“The Japanese are skilled at bringing nature and technology together: not man versus nature, but rather a union of the two.”

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The art and handicrafts sector is the second largest employment generator after agriculture. According to the 2011 Census, there are over 68 lakh artisans in the country, of which 55 per cent of them are women.

A Tradition Since and For Ages 

India, among other things, is known for her soft power. This soft power stems from our very own civilisation, the Indus. The Indus Valley civilisation is witness to a diverse variety of artisanship. Ancient cities of Chanhudaro (present-day Pakistan), Kalibangan, famous for bangle making (Present-day Rajasthan ) among others were famous for crafts ranging from bead, bangle, pot and seal making. Produce from Indus Valley was exported to far lands of Afghanistan, Oman, Mesopotamia, and this brought in gold and silver in a fairly good amount to the Indus. When we use the word ‘Indian’ before artisanship, we refer to the tradition of thousands of years, we refer to Bandhej from Rajasthan, Pashmina shawls from Kashmir, wooden toys from Chhattisgarh, Jharkhand and Punjab, pottery from Uttar Pradesh in orange, brown and dark red to black and dark red in Himachal Pradesh (owning to its heritage to Indus Valley ). The blue pottery of  Jaipur adorns our rooms till date but the larger question is, despite India’s roots submerged in artisanship for ages, why do our artisans not receive the credit they deserve? Why do they live a life of penury? We will look at the reasons why. 

A Change in the Attitude of Buyers Post Globalisation

With the age of globalisation, the world is moving at an ever speedy pace. Most of us have secluded ourselves to the urban-mall-going fancies of life, not that it is wrong but it is an attitudinal problem where we refrain to stop our vehicle for a few minutes to acknowledge the products made by an artisan standing at a stall all day for a few hundred rupees. The same middle and upper-middle-class do not refrain to buy the same product at a much higher price in an expensive shopping complex. This move is not just that of convenience, rather it is important to ask the question, why was there an artisan, a craftsman standing on the street in the first place? If they had a choice, would they still sell their craft on the streets?

Competition with Machine-Made Goods

Companies solely work for profit-making and this zest for profit-making has put many artisans out of work. It takes hours to make a pot or put beads in a zardozi saree on the contrary, machine-made fabric is easier to make, considering, the same fabric is manufactured in thousands of pieces in a single day. The gap between machine made and hand made goods is hard to bridge, but with measures like save our artisans’ campaign, putting active pressure on famous clothing brands to employ to fulfil their corporate sector responsibility (CSR) in promoting rural artisans and creating social media presence for artisans to sell their produce depending on the changing taste and preference for the consumers might just help bridge the gap. 

Lack of Incentives for the Youth 

Most artisans believe that the current generation is uninterested in handicraft due to lack of recognition and monitory value, Easier alternatives, strenuous work hours, etc. Most artisans are found reluctant to have their children follow their steps as they don’t believe there’s a  bright future in the line of artisanship. With an increase in the educational base, the unwillingness to work in a line of uncertainty increases. This may be one of the very serious challenges to the present-day state of artisans.

Infrastructural Bottlenecks

Most artisans are on the belief that lack of infrastructural facilities retard the growth of the handicraft industry and the same number of respondents have to face grumble from the customers concerning the quality and durability of handcrafted products. The types of equipment used to make the products are mostly outdated and time-consuming, this not only limits the number of products an artisan can make in a day but also impacts the quality of the product made. 

Change in Taste and Preferences of Consumers 

We must note here that change is the law of nature and today’s generation is fast changing. Hence, only those who can accept change with time can survive in today’s day and age. Thus, artisans must be trained to deliver quality products that after the demands of today’s market. Now we will discuss the steps taken to uplift artisans in the country. 

Handicrafts constitute a huge part of the unorganised sector. They’ve sustained through globalisation and continue to be in demand in the foreign market. However, the artisan who works in his/her/their vicinity or it migrates to another city, hardly gets enough to sustain their livelihood. Women constitute 55% of the workforce who largely remain aloof from the organised sector drowned under the burden of dual responsibility, one at home and the other without any social security. To solve this issue, several steps are taken. Some of them are as follows-

Research and Development Scheme 

 The scheme is formulated based on evaluation and research conducted by the governmental, research and developmental team. The following initiative was introduced to receive feedback on economic, social and promotional aspects of various crafts and artisans in the sector. Surveys are conducted on certain specific crafts on which there is no substantial information available, regarding problems to availability of raw materials, technology, and more.

Marketing Support and Assistance to Artisans 

Under this scheme marketing support is provided to artisans to help them participate in melas and marketing events in India and abroad, buyer-seller meets are organised to help the artisan get the link needed to showcase the talent. Financial assistance is further provided to hep participate in marketing events in foreign lands, cultural exchange programs during craft exposure programs. The purpose of the initiative is to form a link between an artisan at home to the global market and provide the financial assistance required to fulfil the desired goal. 

Ambedkar Hastshilp Vikas Yojana (AHVY)

The programme mainly focuses on community empowerment. Under the scheme, artisans are motivated to join Self-help groups (SHG’s). After this, the implementing agency will be responsible for further assistance and reform required for the same. A 25-day workshop is the highlight of Ambedkar hastshilp Vikas Yojana. In the workshop, artisans will be provided with training to create new prototypes to suit the changing taste and preference of the consumers, this will make artisans reach bigger markets at home and abroad. However, the larger question is what more needs to be done to uplift artisans from the life of penury?

• The most important aspects of inclusive development is social security, the government must ensure social security by the Ministry of Rural Development. The ministry needs to ensure that there are enough subsistence facilities available to the artisans on the ground and for their families.
• Estimation of raw material requirement, over 32 major craft categories use diverse types of raw materials. While most of the natural resource-based raw materials are locally available, over the years the reserves have been depleting largely due to lack of sustainable utilisation. To overcome the issue of cost competitiveness it is important to undertake bulk procurement through raw material bank scheme under AHVY. 
• We need to study the characteristics of the kind of loans demanded by artisans and provide for them accordingly. According to a report of NITI Aayog, most artisans require short term loans, mostly ranging for 1 to 6 months, credit requirement per artisan amounts to Rs. 0.15 lakhs, the need of the hour is easy credit, regional rural banks, cooperative banks and post office banks must ensure easy credit at customary rates to the customers so that artisans don’t have to depend on money lenders and fall in the debt trap.  
• Use of social media and NGO’s, social media provides a platform to every artist. If you have a talent, and you can showcase it to the world through social media and earn both respect and income. NGO’s in this regard must provide the necessary knowledge of social media once the digital divide is dismantled. With over 560 million internet users in the country, we are slowly but getting on the other side of the digital divide and there’s no better way to instantly become closer to a world that is appreciative of your craft and at the same time ensures you steady income. 
• Attitudinal change is extremely important. We often associate occupations with certain castes and attach prejudices with it. This not only hampers our overall development as informed individuals but also attaches a stigma concerning occupations. This attitudinal change will only come when schools and colleges sensitise young students on issues of caste prejudices, gender typing of roles among others. The emphasis on vocational studies cannot be emphasised further, students must be encouraged to learn at least one craft in their school lives, this will not only help them become in the touch of their creative side but also prepare them for a world where academic excellence is equally valued to craft. 

One must remember words of Leo Tolstoy,

“Art is not a handicraft it is a transmission of feeling the life has experienced” 

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