Thursday, November 24, 2016

ನವದೆಹಲಿಯಲ್ಲಿ ತುಳು ಪಾಡ್ದನಗಳ ಹೊಸ ಅಧ್ಯಯನ ವಿಧಾನಗಳ ಕುರಿತು ವಿಚಾರ ಸಂಕಿರಣ

ನವದೆಹಲಿಯಲ್ಲಿ ತುಳು ಪಾಡ್ದನಗಳ ಹೊಸ ಅಧ್ಯಯನ ವಿಧಾನಗಳ ಕುರಿತು ವಿಚಾರ ಸಂಕಿರಣ

ದೆಹಲಿ ತುಳು ಸಿರಿಯು ಕರ್ನಾಟಕ ತುಳು ಸಾಹಿತ್ಯ ಅಕಾಡೆಮಿ, ಮಂಗಳೂರು ಹಾಗೂ ದೆಹಲಿ ಕರ್ನಾಟಕ ಸಂಘದ ಸಹಯೋಗದೊಂದಿಗೆ ತುಳು ಪಾಡ್ದನಗಳ ಹೊಸ ಅಧ್ಯಯನ ವಿಧಾನಗಳು ಎಂಬ ಒಂದು ದಿನದ ವಿಚಾರ ಸಂಕಿರಣ ಮತ್ತು ತುಳುನಾಡಿನ ಜಾನಪದ ನೃತ್ಯರೂಪಕವನ್ನು ದೆಹಲಿ ಕರ್ನಾಟಕ ಸಂಘದ ಸಭಾಂಗಣದಲ್ಲಿ ಇದೇ ಭಾನುವಾರ ೨೭ನೇ ನವೆಂಬರ್ ೨೦೧೬ರಂದು ನಡೆಸಲಿದೆ.   

ವಿಚಾರ ಸಂಕಿರಣದ ಉದ್ಘಾಟನೆಯನ್ನು ಮಾಜಿ ಕೇಂದ್ರ ಸಚಿವರು ಹಾಗೂ ಸಂಸದರಾದ ಡಾ. ಎಂ. ವೀರಪ್ಪ ಮೊಯಿಲಿ ಅವರು ನೆರವೇರಿಸಲಿದ್ದಾರೆ. ಕರ್ನಾಟಕ ತುಳು ಸಾಹಿತ್ಯ ಅಕಾಡೆಮಿಯ ಅಧ್ಯಕ್ಷರಾದ ಶ್ರೀಮತಿ ಎಂ. ಜಾನಕಿ ಬ್ರಹ್ಮಾವರ ಅವರು ಉದ್ಘಾಟನಾ ಸಮಾರಂಭ ಅಧ್ಯಕ್ಷತೆ ವಹಿಸಲಿರುವರು. 
 
ತೀವ್ರವಾದ ಜಾಗತೀಕರಣ ಪ್ರಕ್ರಿಯೆಗೆ ಒಳಗಾಗಿರುವ ಕರಾವಳಿ ಕರ್ನಾಟಕದಲ್ಲಿ ಶತಮಾನದಿಂದ  ಉಳಿದು ಬಂದಿರುವ ಪಾಡ್ದನಗಳು ಇದೀಗ ನಿರ್ವಹಿಸುತ್ತಿರುವ ಕಾರ್ಯ, ಅದರ ಸ್ವರೂಪದಲ್ಲಾಗುತ್ತರುವ  ಬದಲಾವಣೆಗಳು, ಪಾಡ್ದನಗಳು ಸಮಕಾಲೀನ ಸಮಾಜದೊಂದಿಗೆ ಹೊಂದಿರುವ ಸಂಬಂಧ, ಅದರ ಧಾರ್ಮಿಕತೆ, ಪಾಡ್ದನಗಳನ್ನು ಈಗ ಹೇಗೆ ಶೈಕ್ಷಣಿಕವಾಗಿ ಅಧ್ಯಯನ ಮಾಡಬಹುದು ಎಂಬಿತ್ಯಾದಿ ಮಹತ್ವದ ವಿಷಯಗಳ ಕುರಿತು ಈ ವಿಚಾರ ಸಂಕಿರಣದಲ್ಲಿ ಚರ್ಚಿಸಲಾಗುವುದು. 

ಮೊದಲ ಗೋಷ್ಠಿಯಲ್ಲಿ ಹಂಪಿ ಕನ್ನಡ ವಿಶ್ವವಿದ್ಯಾಲಯದ ನಿವೃತ್ತ ಕುಲಪತಿಗಳಾದ ಪ್ರೊ. ಬಿ.ಎ. ವಿವೇಕ ರೈ ಅವರು ಪಾಡ್ದನಗಳ ಅಧ್ಯಯನ ವಿಧಾನಗಳ ನವೀನ ಕ್ರಮಗಳ ಕುರಿತು ಪ್ರಬಂಧ ಮಂಡಿಸಲಿರುವರು. ಮಂಗಳೂರು ವಿಶ್ವವಿದ್ಯಾಲಯ ಯಕ್ಷಗಾನ ಅಧ್ಯಯನ ಕೇಂದ್ರದ  ಮುಖ್ಯಸ್ಥರಾದ ಡಾ. ರಾಜಶ್ರೀ ರೈ ಅವರು ಸಮಕಾಲೀನ ತುಳು ಸಮಾಜ ಮತ್ತು ಪಾಡ್ದನಗಳ ಆಂತರಿಕ ಸಂಬಂಧಗಳ ಸ್ವರೂಪ ನಿಷ್ಕರ್ಷೆ ಕುರಿತು ಮಾತಾಡುವರು. ಕರ್ನಾಟಕ ತುಳು ಸಾಹಿತ್ಯ ಅಕಾಡೆಮಿ ಸದಸ್ಯರಾದ  ಡಾ. ದಿವಾಕರ ಕೊಕ್ಕಡ ಅವರು ತುಳುನಾಡಿನ ಸಮಕಾಲೀನ ಧಾರ್ಮಿಕತೆ ಮತ್ತು ಪಾಡ್ದನಗಳ ಕುರಿತು ಮಾತಾಡುವರು. 

ಎರಡನೇ ಗೋಷ್ಠಿಯಲ್ಲಿ ಶ್ರೀಮತಿ ಎಂ. ಜಾನಕಿ ಬ್ರಹ್ಮಾವರ ಅವರು ಭೂತಾರಾಧನೆ ಮತ್ತು ಪಾಡ್ದನಗಳ ನಡುವಣ ಆಧುನಿಕ ಸಂಬಂಧಗಳ ಕುರಿತು, ಮಂಗಳೂರು ಸೈಂಟ್ ಅಲೋಸಿಯಸ್ ಕಾಲೇಜಿನ ಕನ್ನಡ ವಿಭಾಗದ ಮುಖ್ಯಸ್ಥರಾದ ಡಾ. ಗಣೇಶ್ ಅಮೀನ್ ಸಂಕಮಾರ್ ಯಕ್ಷಗಾನ, ನಾಟಕ, ಸಿನೇಮಾ ಇತ್ಯಾದಿಗಳಲ್ಲಿ ಪಾಡ್ದನಗಳ ಆಧುನಿಕ ವಿಸ್ತರಣೆಗಳು ಕುರಿತು ಮತ್ತು ಮಂಗಳೂರು ವಿಶ್ವವಿದ್ಯಾಲಯದ ಎಸ್.ವಿ.ಪಿ. ಕನ್ನಡ ಅಧ್ಯಯನ ಸಂಸ್ಥೆಯ ಅಧ್ಯಕ್ಷರಾದ ಡಾ. ಬಿ. ಶಿವರಾಮ ಶೆಟ್ಟಿ ಅವರು ಜಾಗತೀಕರಣದ ಸಂದರ್ಭದಲ್ಲಿ ಪಾಡ್ದನಗಳ ಕುರಿತು ಮಾತಾಡಲಿದ್ದಾರೆ. 

ಕರ್ನಾಟಕ ಸರ್ಕಾರದ ಕನ್ನಡ ಮತ್ತು ಸಂಸ್ಕೃತಿ ಇಲಾಖೆ, ಕರ್ನಾಟಕ ಜಾನಪದ ವಿಶ್ವವಿದ್ಯಾಲಯ, ಹಾವೇರಿ ಮತ್ತು ಮಂಗಳೂರು ವಿಶ್ವವಿದ್ಯಾಲಯ ಈ ಕಾರ್ಯಕ್ರಮಕ್ಕೆ ಸಹಯೋಗ ನೀಡಿವೆ. 

Monday, November 21, 2016


On JNU Kannada Language Chair in Suvarna News-India gate

https://www.youtube.com/watch?v=kLaDqlFClXI

Sunday, October 23, 2016

ಮಳೆಯಲ್ಲಿ ಸದೃಢ

2009 ರಲ್ಲಿ ಜಪಾನಿನಲ್ಲಿದ್ದಾಗ ಹನಮಕಿ ( ಇವಾತೆ) ಯಲ್ಲಿರುವ ಕೆಂಜಿ ಮಿಯಾಜವ ( Kenji Miyazava) ನೆನಪಿನ ವಸ್ತು ಸಂಗ್ರಹಾಲಯಕ್ಕೆ ಹೋಗಿದ್ದೆ. ಕೆಂಜಿಯವರ ಕವನ ಸಂಕಲನವೊಂದನ್ನು ಅಲ್ಲಿಂದ ತಂದು ಹಾಗೆಯೇ ಇಟ್ಟಿದ್ದೆ. ಕೆಂಜಿಯವರು 40 ನೇ ವಯಸ್ಸಿಗೇ ತೀರಿಕೊಂಡ ( 1896-1936) ಪ್ರತಿಭಾವಂತ ಕವಿ. ಅವರ ಒಂದುು ಕವನವನ್ನು ಕಾವ್ಯ ಪ್ರೇಮಿಗಳಿಗಾಗಿ ಅನುವಾದಿಸಿದ್ದೇನೆ-
ಮಳೆಯಲ್ಲಿ ಸದೃಢ (ಮೂಲ: ಮಿಯಜವ ಕೆಂಜಿ)
ಮಳೆಯಲ್ಲಿ ಸದೃಢ, ಗಾಳಿಯ ವಿರುದ್ಧ ಬಲಶಾಲಿ
ಹಿಮಕ್ಕೆಂದೂ ಬಲಿಯಾಗದವ ಅಥವಾ ಬೇಸಗೆಯ ಬೇಗೆಗೆ
ಆರೋಗ್ಯಕರ ಅವನ ದೇಹ, ಎಲ್ಲ ಬಯಕೆಗಳಿಂದ ಮುಕ್ತ
ಕಳಕೊಳ್ಳನವ ತನ್ನ ಭಾವೋದ್ವೇಗವನು ಮತ್ತು ಮುಗುಳ್ನಗೆಯ
ದಿನಕೆ ಕೇವಲ ನಾಲ್ಕು ಗಿಣ್ಣಲು ಕುಚಿಲಕ್ಕಿ ಅವನಿಗೆ ಬೇಕಾದುದು
ಮಿಸೋ ಮತ್ತು ಸ್ವಲ್ಪ ತರಕಾರಿ
ತನ್ನ ಉದ್ವೇಗ ಹಾಗೂ ಭಾವೋತ್ಕಟತೆಗಳ ಅಲಕ್ಷಿಸುತ್ತಾನೆ ಅವನು
ಕಿವಿಗೊಡುತ್ತಾನೆ ಇತರರಿಗೆ,
ಚೆನ್ನಾಗಿ ತಿಳಿದುಕೊಳ್ಳುತ್ತಾನೆ ಅವರನು
ಅವರು ಹೇಳಿದುದನೆಂದೂ ಮರೆಯದಿರುತ್ತಾನೆ
ಬದುಕುತ್ತಾನೆ ಅವನು ಪೈನ್ ಮರದ ಕಾಡಿನ ನೆರಳಿನ
ಹುಲ್ಲು ಚಾವಣಿಯ ಗುಡಿಸಲಲಿ
ರೋಗಿಷ್ಠ ಮಗುವಿದ್ದರೆ ಮೂಡಣದಲಿ
ತೆರಳಿ ಅಲ್ಲಿಗೆ ಆರೈಕೆ ಮಾಡುತ್ತಾನೆ ಅವನು
ದಣಿದ ತಾಯಿಯಿದ್ದರೆ ಪಡುವಣದಲಿ
ಹೋಗಿ ಅಲ್ಲಿಗೆ ಅವಳ ಮೂಟೆಗಳ ಹೊರುತ್ತಾನೆ.
ಯಾರಾದರೂ ಸಾವಿನ ಹಾಸುಗೆಯಲ್ಲಿದ್ದರೆ ತೆಂಕಣದಲಿ
ಅಲ್ಲಿಗೆ ನಡೆದು ಹೆದರದಿರೆಂಬ ಆಶ್ವಾಸನೆ ನೀಡುತ್ತಾನೆ ಅವನು
ಏನಾದರೂ ಜಗಳ ಅಥವಾ ಮೊಕದ್ದಮೆಗಳಿದ್ದರೆ ಬಡಗಿನಲಿ
ಅಪ್ಪಣೆ ಕೊಡಿಸುತ್ತಾನೆ ಅವನು ಬಿಡುವಂತೆ ಗುಂಪುಗಳು ಜಗಳಗಳನು
ಅಳುತ್ತಾನೆ ಅವನು ಬರಗಾಲದಲಿ
ತಣ್ಣನೆಯ ಬೇಸಗೆಯಲಿ ಚಡಪಡಿಸುತ್ತಾ ಅಡ್ಡಾಡುತ್ತಾನೆ ಅವನು
ಪೆದ್ದನೆಂದು ಕರೆಯುತ್ತಾರೆ ಜನರು ಅವನನ್ನು
ಹೊಗಳುವುದಿಲ್ಲ ಯಾರೂ ಅಥವಾ ತಲೆಕೆಡಿಸಿಕೊಳ್ಳುವುದಿಲ್ಲ ಅವನ ಬಗೆಗೆ
ಅವನಂತಾಗಬೇಕು ನಾನು

Friday, October 21, 2016

National Seminar on Kanakadasa


Many Texts, Many Voices


National seminar and symposiums
 ifc   Indian Folklore Congress
Kelina campus, University of Mumbai
October 18, 19, and 20, 2016

Synopsis

Since the 21st century, oral history in India has grown from being a method in folkloristics to  become a key component in academic discussions. Oral history continues to be an important means by academics in 'writing new history'. Practitioners across a range of academic disciplines have also developed the method as a way of recording, understanding and archiving narrated memories. One should be happy to know that oral history has also emerging as an International movement . The dominance of written sources by professional historians is diminishing all over. ‘History from below’ (Perkin 1976) and ‘hidden from history’ ( Rowbotham 1977) were the two key concepts extended the boundary of writing oral histories.   
In India, oral history is providing an alternative to conventional history, filling gaps the latter leaves in the wake of its demand on being ‘written’. Often those who involved in this ‘written history’ herald from the ‘elite’ classes and therefore, fail to sufficiently represent the views and sentiments of the masses. The absence of oral narratives, legends, tales and other materials by various communities, only aggravates this gap, giving rise to a ‘history without people’.   
In this paper, I am intended to explain the importance of oral history where many texts proclaim many voices by taking an example from history of medieval Karnataka. While doing so, I have rejected the standard stereotypical distinction between history, literature and folklore, which has predominated in Indian academic domain for the past two centuries. It is my belief that there need not have to be a distinction between them as all constitute part of the same discourse and are internal to language.  
Much have been written, published and discussed on the ancient city of vijayanagara ( Purushottama Bilimale 1998).  It is an established truth that Hampi  was the urban core of the imperial city and the surrounding principalities of the capital of the vijayanagara empire  during the 14th century to 16th century CE. Notes by foreign travellers such as Abdur Razak , the Persian who visited Vijayanagara in 1440, mention seven fortifications before the gates to the royal palace.  The notes of Robert Sewell describe countless shops and bazars  (markets) filled with people from different nationalities.  However, surprisingly, the writings on Vijayanagara history never mention much about Kampila’s son Kumararama who lived in the early period of Vijayanagara. Historians pushed his name to footnotes, because inscriptions do not speak much about him. Neither Kumararama had an extensive kingdom, nor did he build any big temple or a fort. Hence, his place in Karnataka history has been completely downsized. However, in the folklore of Karnataka, Kumararama has been considered as the most popular hero and a cultural champion.  
To mention a few, four major medieval epic texts were available in Kannada language on  Kumararama. 11 folk epics on him have been collected by scholars. Five major festivals are attributed to his name. Lt. Col. Mackenzie collected six kaifiats ( written documents) on Kumararama during 1798-99. He is a hero in many legends and tales. His story has been recreated in Burra katha form both in Telugu and Kannada languages. Yakshagana and puppetry made him hero in their performances. There are few films made on him, novels have been written on him. Wooden sculptures represents Kumararama in festivals.  
With this huge information, a question is asked, why Kumararama has become so important to Kannada culture and not so important to historians. This paper will try to answer this question with an understanding of writing history on the basis of oral traditions is not easy.  

(The presentation is supported by audio-video materials on Kumararama)  

Ethnic identity, Folk epics and Internationalization of Knowledge production


This paper explores the complex relation between ethnic identity, folk epics of coastal Karnataka and the process of an Internationalization of knowledge production.  The main observations are based on my regular interaction with the artists of Bhoota worship who narrates night long stories of the birth and death of local heroes, locally known as PaDdnas, which are the best expressions of the contemporary spirituality and religious experimentation. This has long been connected in Tulu tradition and religion with local myths.

Three main questions will be asked in this paper-

1.      The problems in understanding desi knowledge system thru these narratives,  as the so called Desi knowledge production is also a mixture of many cultures and changes. For example the Bhootas of Tulunadu have been influenced by Buddhism,  Jainism and Islam
2.      How these local knowledge systems are currently replaced by the process of Internationalization of knowledge production,  as Globalization is necessitated by the new economy for the expansion of market beyond cultural borders, and
3.      Our immediate responsibilities

There has been an intensive dialogue on these subjects in recent years, involving governments, NGOs and academia of both developed and developing countries, on the conceptualization of Desi knowledge, and  its sustainability,  its relation with poverty and cast system, information delivery mechanisms and evaluation of various forms of development activities. Much of these dialogues have been concentrated on either bridging or parting the division between east and west, upper caste and lower caste, urban and rural, written and oral etc. Surprisingly, there is not quite as much vibrancy in exchanges of perspectives between written and oral or in other words between desi and non-desi knowledge systems, and its impact on development cooperation strategies and institutions and on their approach to the ongoing debate on the global development agenda. In such a fast changing and critical situation, where we, folklorists stand?  Can Indian folklore, which exists in various regional Languages from time immemorial, survive the global challenges? 
Let me begin with my experiences with Mr. Bolya Ajalaya who expired recently. He was a Bhoota performer, belongs to a untouchable caste called Ajilaya or Ajalaya. He was a god during ritual and an untouchable during day time.   As you may be knowing, Bhootaradhane or Bhoota worship, is a form of worship, special to Tulunadu. Bhoota means, the past, the bygone, meaning thereby the spirit of the ancestors. Bhoota worship has a history of about eight centuries. This ritual has a complex structure with beliefs, rules of worship, apparatus, literature, music color and  other theatrical elements. About thousand Bhootas are being listed now. The songs sung in the Bhoota  performances are called ‘PaDdanas’ They are long narrative epics with tragic end.   
I was watching Bolya Ajalaya performing    variety of Bhootas and reciting hundreds of paDdans through out night. In a place called Mogra, in Dakshina Kannada district of Karnataka State, he had a task of performing 100 Bhootas overnight. Such a talented Bolya, started asking money with me for his son’s education. After I got a job at a college at Sullia, I helped him financially and his brilliant son, Mr. Kepu Ajila got a BA degree with good marks  in 1982. Latter He got a job in a bank with a good salary. After that, the first work Bolya did was asking his son not to participate in a Bhootaradhane, which he nurtured at least for half century. When I asked about this departing, Mr. Bolya thanked me and told that, ‘my sufferings should not be transmitted to him, let him live a dignified life’.
This is the hard reality in the field. The barriers of the epics are no more interested to transfer their wisdom to the next generation, but we expect them to do so, hence  we are moving in opposite directions.  There are less and less narrators for epics like Dhola Maru ( Gharwal), Annamar Kathei ( Tamilnadu) Palnadu ( Andhra Pradesh), epic of Guga and Devnarayan ( Rajasthan) Malemadeshwara ( Karnataka), Khandoba ( Maharashtra), Hir Ranza ( Punjabi), Pandvani ( Chattisgarh) etc. The children of these epic narrators wanted to join schools and get modern education. Folklorists wanted to study the creative expressions of various epic narratives, including their music, dance; beliefs, artistry of the expression itself. They examine an epic, for instance with in its larger social and political context in order to understand and appreciate the epic better.  Most of us are interested in knowing how the artist and his community understands and appreciates the art form. These approaches contribute to the understanding of a local knowledge, which we often vaguely refer as a desi knowledge system.   Many others believe that these knowledge productions belong to Pre-colonial India. We are furthering our studies with such understandings, sometime with confusions, and some time with misperceptions. In this context, let us Look for the following issues when we work on folk epics.   

  1. Firstly, over the travail of centuries knowledge production by uneven communities spread across the Indian sub-continent underwent the long processes of continuity and change involving innovations, additions and abandonment in the wake of marches and migrations of material cultures, interactive co-existence, assimilation and acculturation, relationships of control, stratification and domination, cults and sects, hierarchy and exclusion, invasions and subordinations, dissents and protests, incorporations and reconstitutions. The major marches and migrations were of Mediterranean, Persians, Macedonians, Parathions, Greeks, Kushans, Sakas, Chinese, Huns, Iranians, Turanians, Afghans,  Pathans, Jews, Arabs, Mongols and Mughals who came to the sub-continent at different points of time roughly between BCE 1000 and A.D 1600, impacting  knowledge production. Hence we  should be very careful while referring to Desi knowledge production particularly in epics. Epic knowledge is also a mixture of many cultures and changes.  We have Buddhist impact on PaDdanas of Tulunadu, Jainism impact on Death rituals, Islamic impact on performances and so on.
  2. Secondly, Epic knowledge had differences in terms of theoretical as well as technological levels from region to region at all times as required by particular language, materials and environment, and as enabled by the varying heritage of communities. Hence we should not forget that the epic knowledge system has been produced in the contexts of time, space, communities/ Castes and individuals. This intellectual tradition is multiple in nature. My friend Bolya has used modern colors effectively.

  1. Thirdly, traditions of epic knowledge production in the sub-continent were many but all of them underwent the processes of continuity and change in the wake of the historical incidents.  

The emergence of a new class of socially unencumbered laborers, revival of trade and markets, accumulation of money in the hands of the towns-men, migration of laborers into towns, transformation of the guilds into small factories, growth of production beyond local consumption, expansion of market, enhanced development pressure on productive technology, distributive need for quicker transport etc. are the new languages of our culture. Globalization was necessitated by the new economy of mechanized manufacturing, need for expansion of market beyond cultural borders. Global Control is far more than mere political subjugation and economic exploitation. Internationalization is an irresistible process of the penetration of Western culture into the local cultures and traditions, and their slow, traumatic and fundamental reconstitution from within rather than a sudden disruption or replacement. It is a process of the transformation of the traditional self into a self- Uprooting, self from within, a thorough revamping of the traditional worldview from within. It is a process of voluntary acceptance of a set of new meanings, measures and parameters of knowing ones self and the world distinctively, following them to judge the right and wrong, and living them mechanically through ‘mimesis’. It is a process of enthusiastic internalization of the truth about oneself, one’s culture and the cultural past as represented by the West, and seeking to live the representation as real and ideal. This internalization of the culture is believed as truth by us and our younger generation, which brought fundamental changes in the regime of knowledge production. Internationalization is thus a natural and easy process for which Mr. Kepu, son of Late Bolya was easily succumbed. We have no moral right to tell him to go back to his father’s profession.

Currently, trade in higher education services is a billion dollars industry, including recruitment of international students, establishments of University Campuses abroad, franchised provision and online learning. Higher and technical education has become a big service industry and is expected to increase 100% during this decade. India is a signatory to WTO, which includes General Agreement of Trade in Services ( GATS), where education is one amongst the 12 main sectors classified as services. Globalization of higher education has been on the thematic priority of the UNESCO and International Association of Universities ( IAU). Number of recent studies has indicated rapid increase in global demand for higher education. The economic impact of higher education is also important. According to NAFSA (National Association of Foreign Student Advisers) report, during 2012-13 academic year, 8,19,644 international students and their families at universities and colleges across the United States supported 3, 13,000 jobs and contributed $24 billion to the U.S. economy. This is a 6.2% increase in job support and creation, and a nearly 10% increase in dollars contributed to the economy from the previous academic year. With about 4,00,000 international students in Australia and about 9 billion Australian Dollar revenue to the Australian economy, and 5.7 billion New Zealand dollar to the New Zealand economy with about 2,00,000 international students, higher education now represents a largest export sector. In this context, recently the University Grants Commission has projected a vision for Indian Higher Education as part of its five year plan and set up a special standing Committee to promote Higher Education . This committee strongly recommended-

  1. Internationalizing higher education system and then exporting it. This will have
economic and political benefits, including playing a vital role in building bridges between countries and across geo-political lines.

  1. Starting twinning programs through international linkages where Indian and Foreign institutions enter into voluntary combinations to further their mutual objectives and interests. Twinning programs are collaborative arrangements between two universities for enhancing or build capabilities of both the institutions to operate, manage and administer undergraduate or graduate programs, and to provide students with the opportunity of an International degree

  1. Establishment of Education Excellence and Export Zones ( EEEZs) to house world class Indian or International Universities and branches or campuses  of other international institutions to overcome the problems rigid controls, dilapidated infrastructures, out of date curriculum  etc.  

 As a result, higher education in India is rapidly changing and is ready to be governed by the business rules. As a result, English has become a national link language, resulted in creating global monoculture.

In such a fast changing and critical situation, where we, folklorists stand?  Can Indian epics, survive the global challenges?
To be very honest, we do not have, at least not in sufficient quantity or depth, are analyses of the cultural implications of this new world order.
If we work hard on these issues, we could provide a model for what the rest of the world could be like.

Lastly, while reading this paper,   many of our epics are vanishing away. I urge honorable Prime Minister of India for creating a Indian Folklore Archives ( IFA) and establishing a National Folklore Academy ( NFA) for preserve and study of our great epics at least in archives, before it vanishes away from our soil.  

He Ram

ಹೇ ರಾಮ್
ಗಾಂಧಿಯ ಎದೆಗೆ ಗೋಡ್ಸೆ ಗುಂಡಿಟ್ಟಾಗ
ಹೇ ರಾಮ್ ಅಂತ ಯಾರೋ ಕೂಗಿಕೊಂಡರಂತೆ
ಗಡಿಬಿಡಿಯಲಿ ಯಾವುದೂ ಖಚಿತವಿರಲಿಲ್ಲ
ಅದು ಗಾಂಧಿಯ ಸ್ವರ ಅಂದರು ಹಲವರು
ಗೋಡ್ಸೆಯದಿರಬೇಕು ಅಂತ ಕೆಲವರು
ಹಾಗೇನೂ ಇರಲೇ ಇಲ್ಲ ಅಂದವರು ಮುಂದಿನವರು.
ಕಾಲ ಕಳೆದಂತೆ ವಿಷಯ ಜಟಿಲವಾಯಿತು.
ಕೊನೆಗೆ ಏನೂ ತಿಳಿಯದೆ
ಗಾಂಧಿಯ ಹಿಡಿದು,
ಗೋಡ್ಸೆಯ ಅಪ್ಪಿ
ಇಬ್ಬರಿಗೂ ಒಟ್ಟಿಗೇ  ಗುಂಡಿಕ್ಕತೊಡಗಿದರು ಜನರು
ಆಗ ಗುಂಡಿನ ಸದ್ದು ಬಿಟ್ಟು

ಬೇರೇನೂ ಕೇಳಿಸಲಿಲ್ಲ.