RETRIEVAL CENTRE FOR DWINDLING

FOLK AND TRIBAL ART

 INTRODUCTION

• Tribals are a group of indigenous people with a sustainable lifestyle that blends
well with the ecosystem.
• Though agriculture claims to be the main occupation of the tribes in India, there
are various art and crafts praticed by these people, starting from the clothes they
wear to the houses they live in.
• India has the largest percentage tribal population in the world. There are about
84.51 million of tribals living in India. There are about 449 tribes and sub tribes
living in different parts of the country.
• In Tamilnadu, the tribals occupy 1.10% of the total state population. There more
than 36 tribes and sub tribes found in Tamilnadu.
• According to NCAER(national council for applied economic research), there are
about 0.87 lakhs of handicrafts artisans in tamilnadu.
• TRIFED have already arranged spaces for trading these crafts to the public. There
are only temporary exhibitions made to sell these crafts and very less permanent
stores to exhibit the craft.
• In Tamil Nadu, Nilgiri district is having
the highest percentage of Scheduled
Tribe population next only to Salem
district but have high number of tribals
involved in the art and crafts. It has a
Scheduled Tribe population of 3.3.
percent of the total population of the
district, whereas it is 3.6 per cent in
Salem district. The population of tribes
in nilgiris is 26,566.

• The six primitive tribal groups found

in the nilgiris district are as follows:
• Toda
• Kota
• Katunayakan
• Irular
• Kurumbas
• Paniyan
• There are several divisions to these
primitive tribe groups within them.
TODA

KOTA

KURUMBAS
IRULAS

KATUNAYAKAN

PANIYAS
 TODA

• Toda people are a Dravidian ethnic group who live in

the Nilgiri Mountains of the Indian state of Tamil
Nadu. Before the 18th century and British
colonisation, the Toda coexisted locally with other
ethnic communities, including
the Kota, Badaga and Kurumba, in a loose caste-like
society, in which the Toda were the top ranking.
• The Toda traditionally live in settlements
called mund, consisting of three to seven small
thatched houses, constructed in the shape of half-
barrels and located across the slopes of the pasture,
on which they keep domestic buffalo. Their economy
was pastoral, based on the buffalo, which dairy
products they traded with neighbouring peoples of
the Nilgiri Hills.
• At sunrise, the priest crawls out of the
low doorway of the arched bamboo
and grass temple. Behind him, the
houses, the MUNDH ( hamlet) are
clustered together and in front of him
is the round stone enclosure for the
sacred buffaloes. He washes up the
bamboo vessel and facing the rising
sun offers his morning prayers. Then
entering the temple he attempts to
bring to life the glowing embers kept
safe overnight in its wooden
receptacle. He chums the nirrsche, a
device made of two pieces of wood to
produce a flame. Then he goes to the
river to fetch water to wash the ritual
vessels. After putting the rice to cook,
he goes to milk the buffaloes.
• In the mundh above, the people of the
tribe help in milking the domestic
buffaloes, they gather to curl their hair to
long ringlets and sit groups to embroider
their shawls.
• While some people compete with each
other trying to lift boulders in a test of
strength. Meanwhile the priest eats his
food from a leaf, gets into the temple
again, carefully stores the embers and then
leaves with the buffaloes to the forest.
• At sunset the priest returns after grazing
the buffaloes, herds them to their thoo, the
buffalo pen for the night. He lights the
lamp with evening prayers and the women
do prayers in their houses by lighting
lamps. The lights will be put down only
after the evening meals.
• As the priest retires to bed, he can hear the
faint sound of the women singing songs of
the rivers and mountains.
 • The kota tribes worship ‘aynaur’ a
KOTA male deity and amnaor a female deity
as their principal deities.
• The kota tribes are termd as the ‘artisan • The kotas also tall in their patta lands
tribes’ since they excel in multifarious lands by cultivating millet varieties
artisan activities such as blacksmit, and other agricultural products
pottery, wood carving, fabricating and
• They speak a language of their own
performing different musical
instruments. known as kota itself which is also
•
identified as a member of the
While kota women perform as expert
potters the kota men exhibit their talent dravidian language family closely
in other artisan activities. related to the tods language.
• The kotas inhabit a relatively higher
altitude of about 1800 meters in
udhagamandalam and kotagiri taluks.
• And they live a settle life in 7 hamlets
(kokkal) with a sizable number of titled
houses arranged in three strrets (keri) viz
mekari , keekeri, and nadukeri. And each
keri represents an exogamous clan.
• The ideally located kota hamlets at the
centre of toda and badaga spheres of
mobility testify to the erstwhile
imporatnce of kota services to others
• People return to their village as the dusk falls • Dhegiamma fondly watches the children
over the mountains. On their way through run up the hill to practice Pullu, the
the growing crops, they notice that the early game of sticks. The elders will play this
frost has killed some of the plants. The game, once the festival begins while the
harvest will be affected this year, in a few children watch. She puts away
days the festival will be upon them. All the the plate to dry and hurries over to join
preparations remain to be done and money the other women. They soon lose
is scarce. The people of all six kokaals (clans) themselves practising their songs of
will arrive in a few days. Entering the village, Ammanor and Ayyanor and enacting
peoplle and the children quickly take off their their dances in preparation for the
footwear. No shoes are allowed inside the festival, when the whole night will be
village. Luckily the women are wearing the spent in singing, dancing and feasting.
traditional white cotton garment and striped
shawl, so will not have to change.
• Sending the children off to bring clay, she
settles down to make a large plate, from
which her husband , and all the men of the
community will eat together. They will visit
every single house in the village, one by one
and eat together, reconciling old differences
and renewing ties of friendship and affection.
 • The Kurumbas, in general, are 'Food-
KURUMBAS gathering tribes and they
exhibit excellent techniques in the
collection of minor forest produce,
• The Kurumba tribes are identified as five especially honey collection
different sub-groups, viz., • The Alu Kurumbas are known for their
Betta Kurumbas, Urali Kurumbas, Jenu Kurumbas, expertise in sorcery and
Alu Kurumbas and witchcraft which they employ in curing of
Mullu Kurumbas. illness.
While the Mullu Kurumbas are observed to speak
• The Alu Kurumbas are the only Nilgiri
a dialect of
Malayalam all other sub-sects of Kurumbas are tribes who possess the graphic
attested to speak four art tradition
different dialects of Kannada, • The Mullu Kurumbas use a unique type
Alu Kurumbas mainly inhabit the hilly tracts of blunt arrows known as
between an elevation of motu.
1200 meters and 1500 meters on the taluks of
Kotagiri and Coonoor.
Betta Kurumbas, Jenu Kurumbas and Mullu
Kurumbas occupy the
Western slope of the District (.e., Pandalur and
Gudalur taluks) upto
an altitude of 1200 meters.
While the Kurumba hamlets are generally referred
to as 'paadi the
individual huts are known as 'gudlu.
• AALU KURUMBAS:
• A group of Aalu Kurumba men make their way
through the forest, eyes darting here and there
in search of food. Green leaves, bamboo
shoots, mushrooms, even a curling creeper
might indicate edible roots. Amongst them
Kaadan, Sikharai, Mullan and Khambai cast
their
eyes over a rock face, where at a height of
several storeys above the ground, they spot
huge hives of rock bees. Immediately they call
out to
their friends and start preparing to gather the
honey. The boys tie leaves in a bundle to burn
and smoke out the bees. The men plait
creepers to
make a rope ladder. Mullan, the expert honey
gatherer, carries a long stick with a knife at the
end, and climbs the ladder. He trusts only his
brother-in-law, Sikharai, to protect him as he
climbs, for he can be sure that the man would
• never allow his sister, Selli, to become a
widow.This has evolved into an Aalu Kurumba
tradition. dan the mudilastered walls of Aalu
Kurumba homes and This has evolved into an
Aalu Kurumu
As he climbs the steep cliff, he notices the walls
are covered with rock paintings. The same
images that even today are painted on the mud
plastered walls of Aalu Kurumba homes and
temples. After the bees are smoked out,
Mullan cuts through the hive, separating the
honeycomb from the base where the larvae
nestle. The honeycomb is caught in baskets,
stretched up
by the others on tall sticks. Having collected
enough for their needs, he climbs down and
sets aside what they are to carry back. They
then feast on the remaining broken pieces. One
of them
has remembered to carry amaranthus flour,
which they quickly make into balls, mix with
the honey and eat greedily. As the sun sinks
over the mountains, the triumphant men
return to their
Village, with the bounty from the venture.
 MULLU KURUMBAS • The chief hunter, Nochai, stands boldly in the
middle of the path, his bow drawn and arrow
notched. The others climb a nearby rock and
• Armed with spears, bows, arrows and stay
alert. When the trackers and dogs drive the
catapults, the hunting party of seven men
animal out, Nochal is the first to shoot at the
leaves the village in the early morning
charging animal. All the others then shoot or
darkness. The two
try to spear it. The dogs too attack the
trackers, Bokhan and Kumbali, leaving the
wounded animal
others squatting at the edge, enter the forest
and it is soon killed. The group then begins the
looking about for animal tracks. Soon they find
long process of butchering the boar and
the
sharing the meat. Each person in the hunting
trail of a wild boar and follow it through the
party has a share and extra shares go to the
forest. Wherever it enters a dense
trackers who
undergrowth, they cautiously circle around,
found the animal and the hunter who brought
looking for a sign of it
it down. Bokhan and Kumbali think about their
emerging. When they find that the wild boar
wives, Cherangi and Khoima, knowing that they
has not left the thicket, they push a sharpened
will be very happy, the men saivate
branch into the ground to mark their prey and
imagining the feast they will get. When they
prevent the animal from leaving. Then they go
return to their village, the entire clan will make
back and retum with the whole group. The
merry, singing and dancing all night.
dogs that accompany the group, spread
through the
thicket, barking to drive out the wild boar
hiding within.
 BETTA KURUMBAS
• It is live in the morning Manban rises
from his sleeping mat. It is a small single
room house (a combination of living,
cooking and sleeping Area) built of grass,
which he shares with his wife, Somakhi,
his children Sullan and Khirnari and his
elderly parents. Manban eats his
Breaklast of rice kanji, from an earthen
pot and leaves to work in the fields, as an
agricultural labourer. Tied in a corner of
his dhoti is a bal or ragi dough and spicy
chutney wrapped in leaves, his lunch.
Taking a break from the hard day's work,
he washes at a nearby water hole and
visualises his wife and son in the forest,
with a group gathering roots and tubers.
Manban's face breaks into a smile,
recolecting the windfall they had
yesterday. While returning with bamboo
from the forest they had chanced upon
the carcass of a deer, meat for the family
for a few days
• Back home, he sees his mother taking
care of the younger child, still an
infant. His father sits outside weaving
bamboo basket. Dinner is a gruel
made from palm tree pith, they
would eat well tonight. Manban then
leaves the hutto visit the chaavadi or
temple, where one by one the people
of the village are gathering. In front
of the fire, at the centre of the
temple, the men sotto down, while at
the back sheltered by the woven back
wall, the women gather. The Shaman
is already in a trance and Manban
knows that he would have to raise
the issue of his son leving
for the city in search of work
 IRULAS • The Irulas of Masinagudi area are
performing a mimetic dance termed
• • The Irula tribes inhabit mainly the hilly ‘emme attaa' wherein the performer
tracts between an altitude of mimes the movements of Indian
1200 meters and 1500 meters in the bison.
Kotagiri and Coonoor taluks. In The Irulas speech is known as ‘irula
other words, the Irulas are found only in baasha' which is identified as a
the Southern and Eastern member of the Drividian linguistic
slopes of the Nilgiri hills. family
• The Irulas are reported to be in
possession of excellent ethno-
botanical knowledge of the herbal
wealth and related vegetation
. As the Irulas adopt indigenous food
gathering techniques, they are
aptly called the 'Food-gathering tribes.
• The Irula people are fond of playing
their different musical
instruments such as buhiri kwaal
naagasura, kadime, pore, thavilu
which are fabricated by themselves.
• It is a festival day as different clans of the •
Irulas in Nilgiris make their way towards
the ancient temple of the Mother Goddess.
In a small Irula home nearby, the daughter
of the family. Masini, is all dressed up to
meet a prospective groom. She will not be
able to attend the festivities late in the
evening atter the groom's party has left. As
the bangle sellers and other vendors will be
late setting up their stals, she does not
realy mind. Her father and brother have
already gone to the temple, as the rituals
cannot begins the Irulas have performed
the first offering Masini's mother and the
other women of her family have already
prepared saamainice, spicy chutney,rajma
curry and other delicacies
Masini has a very important thing to do
before the groom's party arrives, she
has to prepare seven glasses of water
with chili powder
solved in The groom's party has to drink
these glasses to demonstrate the level
of fortitude and tolerance of the
prospective husband and his family, a
tradition amongst Irulas. The girl
a useless or more of the chilli powder,
depending on her level of approval of
the groom. Masini has already seen the
boy, Raysan, ata festival the previous
year. She is quite enamoured
by his looks and bearing. Talong a small
pinch of chilli, she moves it in a huge
pot of water and fills the seven glasses.
In the distance, she can hear the drums
and pipes playing the traditional
bevotional music before the temple
entrance. In her heart she knows all
would be well
 • - The speech of Kattunayakas is
KATUNAYAKAN considered as an archaic dialect of
Kannada and thus it occupies a place
• • The Kattunayaka tribes also occupy the Lower within the Dravidian linguistic
Western slope of family
Nilgiri Hills, especially in the taluks of Pandalur and
Gudalur, upto an
altitude of 1200 meters.
• The hamlet of Kattunayakas and their individual
huts are known by a
single name, viz., mane'.
• The religious leader of Kattunayaka tribes is
called 'mandhrakaaranu'
who is believed to drive away the evil spirits.
• As the Kattunayakas generally collect all sorts of
miner forest
produce, apart from honey collection, they are
aptly designated as the
'Food-gathering tribes'.
• kolalu, a wind instrument and mare, a
percussion instrument are the
two important musical instruments of the
Kattunayakas.
• The Kaattu Naayaka woman is valued
by the community and there is no
practice of dowry among this tribe
Bholi is a sprighty gul who is
busy through the day usefully
occupied. Fetching water, gathering
firewood, helping with the crops,
weaving mats and baskets from the
cane, bamboo and grasses gathered
from the edge of the forest, smoking
and preserving the meat brought back
by her men folk. She also
prepares the medicines from forest
leaves and roots for the needs of the
whole family.
•
Themu, a handsome and imagining
himself the lord of the forest as the
name of his tribe imples, one day
abducts Bholl as his bride. Altera
• while in remorse Themu and his
parents resort to an important
traditional to followed through the
ages. Offering betul leaf and out at the
feet of Shell's mother they beg pardon
for the wrong doing Then they solo
intervention to have the marriage
approved by offering betel leal and
nut to the Gods. Having thus been
bled Theme and hell other way, iving
in harmony with nature as hunter
gathers and cultivating crops for their
use
 PANIYAS • busy collecting the leaves and seeds
with which they will make their
• As the sun rises over a Paniya village, not a
earrings and other jewellery. Coming
soul is seen. The men and women have left back to the village, they play
when it was still dark to work in the fields games and gather around their
of the local grandparents to hear old stories. When
landlord. After a while, the elders emerge, the parents return, food will be cooked
sheltering in the verandahs, they begin for the whole family.
weaving mats and baskets. Almost like
seeing a time lapse
sequence, the scene changes to a bunch of
children armed with baskets, lines, and
bamboo traps racing out to the nearest
river. Semban
quickly dams up a part of the flow, while
Nunjan, Salli and the rest of the boys fish in
the still waters, catching crabs and small
fish. The water
is then allowed to flow again and they
return to their village, gleefully bearing the
day's catch. Meanwhile, Madhi, Seera and
Bolichi are
ART AND CRAFTS OF TRIBES IN
NILGIRIS
 List of tribal art and crafts in nilgiris
• Toda embroidery
• Kota pottery
• Utensils
• Bamboo flutes and rainmakers
• Traditional tribal ornaments
• Kurumba painting
• Lantana crafts and furnitures
 TODA EMBROIDERY
• • The Toda women, during their leisure time, engage themselves
in an indigenous embroidering wherein a coarse, unbleached,
handwoven, white cotton cloth is embroidered with pukaor
(motif) of floral, animal and or natural objects and convert it into
putkuli ("embroidered shawl"), by employing steel needle and
woolen threads chiefly of black & red clour.
• The unbleached nature of handwoven white cloth helps in
identifying the yarn gays quite easily.
• The design of putkuli is laid out in between the strips of black
and red
• The patterns of putkuliare embroidered by the combined
methods of darning and embroidery
• As the Toda embroidery is woven out in intricate manner by
means of darning counting of threads and or yarn gaps, the
resultant design emerges as geometric forms, at a casual glance
And the naturalistic designs emerge as geometric patterns on the
reverse of shawl as well
• Thus, the Toda embroidery appears striking with its bold color
scheme and complex combination of weaving and embroidery
Young Toda girls observe the embroidery work of elders and
learn the endemic tradition by participation in due course
 KOTA POTTERY
• • The practice of Kota pottery is a collective enterprise wherein men
participate in the construction of wheel and help women in digging of
clay and firing the finished products from wheel while women do the
rest of the pottery works.
. The master potter woman is assisted by a helper woman who is also
a potter, but skilled to a lesser degree. While the master potter shapes
the pottery on wheel, her helper the co-potter turns the wheel. And the
co-potter always knows, when to turn the wheel fast, when to slow it
down, when firing movements are being executed. And she also helps
the master potter in stages of pottery. In short, both the master potter
and the co-potter, work in quiet understanding, a relationship that was
built over long years of working together.
• The Kota pottery is never entirely shaped on the wheel and all the
wheel thrown shapes are paddled subsequently to the desired form.
• The paddle pottery are later burnished, which involves rubbing of the
pot shapes with a small round stone before they become completely
dry. And the pots are rubbed sit their surface shines as if lacquered,
giving them better texture and longevity simultaneously eliminating
their porosity substantially if not entirely).
Finally, the shadow.dried pots are subjected to firing in a kin of
temporary construction with layers of brick. And the Kota tribes
employ quick and efficient firing
 KURUMBA PAINTING
• • The Alu Kurumba tribes constitute the only tribal group of the Nilgiris who are
observed to engage in the graphic tradition of expressing their cultural milieu
through painting on the rock canvas
• The Alu Kurumbas are taught to transform their unique graphic
tradition into other media such as paper board, handmade paper,
cloth canvas with the genuine aim of making it to reach wider art
lovers and connoisseurs.
. Of course, the Alu Kurumbas are still encouraged to continue the
practice of employing natural pigments such as tree resin, leal
extract while executing their paintings.
. At present, several tribal artists have emerged from the Alu
Kurumba community and identified to excel in showcasing their
graphic tradition
• . With the genuine objective of nurturing the tribal graphic tradition, only the art
techniques such as handling of new media, preparation of background of media,
applying of paint brush are imparted to the tribal artists of Alu Kurumba society –
leaving their artistic expression and creativity to flow free without any restriction so as
to reflect their indigenous cultural ethos.
. However, the cultural nuances of Alu Kurumba paintings (such
as depiction of human characters imply some sort of religious
observance) are to be explored and recorded in near future
 LANTANA CRAFTS AND FURNITURES
• Lantana, a weed shrub that invaded from central and south america is a grave threat
to the native flora in the reserved forest. The rapidly growing weed is considered to be
a threat to biodiversity. The bamboo-like weed grows very fast, covers open ground
very quickly and hinders the regeneration of species. It often outgrows other species,
which leads to reduction in biodiversity. The Tamil Nadu Handicrafts Development
Corporation Limited took interest in introduction of furniture made using Lantana
species (bamboo like). It helps local artisans to create wealth from waste.
• Sofa sets
• corner stand
• tea table, made from lantana costs much lower than those made of bamboo and
other types of woods.
• the tribal community is involved in the mechanical control of lantana by manually
cutting, and at the same time, they are trained in making
• low- cost furniture,
• handicraft,
• toys and other utility articles using lantana wood.
 UTENSILS
• All the tribes have their own way and choie of materials to make their household
and day to day utensils
• They use materials such as bamboo, lantana weed, coco grass ( korai pul ), clay, soft
stone etc
 ORNAMENTS
• Tribes in Tamil Nadu like the Todas, Badagas and Kotas of the Nilgiris district wear
silver and other metal jewellery.
• The ornaments are huge, heavy and intricately carved.
• Toda jewel pieces are made of bent wires and shells.
DWINDLING FOLK ARTS OF
TAMILNADU
 LIST OF FOLK DANCES
• Valli kummi
• Oyilaattam
• Thappattam (parai)
• Silambaattam
• Baduga dance
• Kurumba dance
• Emme aata ( mime dance – irulas )
• Kolaattam
• Vedar aattam
• Karagaattam
• Saattai kuchi dance
• Therukoothu
• Villupaatu
 Traditional folk dances
KARAKAATTAM
• Karagam is a folk dance with musical accompaniment performed balancing a pot on the
head. Traditionally, this dance was performed by the villagers in praise of the rain goddess
Mari Amman and river goddess, Gangai Amman. In Sangam literature, It is mentioned as
'Kudakoothu'. This dance has two divisions- one, Aatta Karagam and the other Sakthi
Karagam performed with a fire pot on the head. In Mariamman or Durga temple as ritual
dance, It is called 'Sakthi Karagam'. More often it is danced with decorated pot on the
head and is known as 'Aatta Karagam' and symbolises joy and merriment.

The dance is performed in temples and on festival occasions as entertainment. This is one
of the more popular rural dances today. Earlier it was performed only to the
accompaniment of Naiyandi Melam but now it includes songs also. This dance is very
popular all over Tamilnadu, though its birth place is said to be Thanjavur. Both male and
female performers participate in this. Acrobatics similar to circus are included such as,
dancing on a rolling block of wood, up and down a ladder, threading a needle while
bending backwards and so on.
• PROPS: The pots have transformed from mud pots to bronzeware and even stainless steel
in modern times. The pots are decorated with a cone of flower arrangements, topped by a
paper parrot. The parrot rotates as the dancer swings along.
 SILAMBAATAM

• Kol Silambam or fighting with long stick and even with swords is a martial art
extant from the days of Tamil Kings. Fights were characterised by moves of
approaching the opponent, overpowering and subduing him, and finally teaching
him a lesson, all to put an end to violence. A violent fighting art has
metamorphosed into a non-violent form of folk dance, adding stepping styles
following the measure of time. It also teaches the performer the methods of self
defence in modern day world.
OYILAATTAM

• Oyil means beauty. This dance is hence the dance of beauty. Traditionally, it is
danced only by men. years ago women also began to participate. First a few people
will stand in a row and start dancing with rhythmic steps with musical
accompaniment. Intricate steps are used, which are much similar to those used in
martial arts, such as Silambaattam. Then gradually the row will become longer as
the new comers and guests all join and dance along as they like. The dancers were
ankle-bells. Normally, the dance is performed with the accompaniment of musical
instruments and songs.
SAATAI KUCHI

• Saatai kuchi attam is one of the traditional dances performed by the farmers in
tamilnadu.
• This dance form first originated in trichy
• The props used for this dance is saatai, a stick used on bullock carts
 FOLK ARTS WITH MUSICAL INSTRUMENTS

PARAI AATAM pieces are held together by three metal

• It consists of a circular wooden frame plates. The parai is played with two
with one end closed with cow skin sticks: one long, thin flat bamboo stick
membrane and the other end open. (approx. 28 cm) called 'Sindu/ Sundu
Thappu is played with two sticks, one Kuchi' and a short, thick stick called 'Adi
being larger and thinner than the Kucchi' that can be made from any
other. It is performed in dances, variety of wood (approx. 18 cm)
funerals, temple festivals and sport
events.
• PROPS: The parai is a frame drum about
35 centimeters in diameter. It consists of
a shallow ring of wood, covered on one
side with a stretched cow hide that is
glued to the wooden frame. The
preferred wood is neem wood although
other types may be used. The shell is
made up of three separate pieces of
wood each in the shape of an arc. These
 DRAMA
THERU KOOTHU • the late evening and gets over only
• Normally conducted during village during the small hours of the day. The
festivals, during the months of performance is so captivating that
Panguni and Aadi. This is performed the audiences are spell - bounded
where three or four streets meet; in unaware of the long hours.
open air, the place being lit by gas
lights. A wooden bench is set up to
seat the singers and the musical
troupe. Here, make-up and costumes
are considered of prime importance.
Only men take part ; the female roles
are also played by them. The
performance consists of story-telling,
dialogue rendering, songs and dance,
all performed by the artistes. The
stories are from Puranas, epics such
as Ramayana and Mahabharata, and
also local folklore. The play starts in
 REQUIREMENTS OF THE ART
• OYILATTAM: • THERUKOOTHU:
• Depicted drama ( music + dance+ • Combination of dance music and
dialogue) drama
• No. Of performers required: • Musicians – rear stage
minimum 10 (only men) • Performers - front stage
• Music: ‘Raja mela’ support singers: 2 • Average stage dimension – 16’x 14’
• Pambai: 2 • Musical instruments:
• Nadaswaram:2 • Harmonium
• Urumi: 1 • Drums
• Tavil: 2 • Naiyandi melam
• Nadaswaram:2
• Pambai: 1
• Thamlikkli:1
• PARAI ATTAM ( thappattam):
• Dancing along with the drums
• 10 persons involved
• Musical instruments: parai invidually
• VILLUPAATU
• Musical story telling
• Properties used: bow, mudukku,
thale, kattai
• Average no. Of people:4-7

• KARAKAATTAM:
• 2 lady dancers with karagam on head
• Karagam is a pot made either with
mud or bronze or stainless steel
• Music: raja paatu, naiyandi melam,
komali( male ) entertaining the crowd
• Area required: 2500 ft
 SPACES REQUIRED FOR THE PERFORMANCES

OPERA
• An opera house can be specifially
designed to host therukoothu (dance
dramas ). It generally contains an
orchestra pit which can hold large
number of musicians. This is located
below the audience seating or
between the stage and the audience.
Ignoring the contemporary struture,
the concept of opera can be used for
staging therukoothu since this
artform has a very similar
requirement as the opera
performances.
 BAND SHELL, BAND STAND

These are large outdoor performance venues used by musical bands and orchestras.
The Stage usually has a concave back covering to enhance audibility and provide she
-lter. The Audience is usually seated in the front in the open.
 AMPHITHEATRE

Amphitheatre is an open-air venue used for entertainment, performances, and sports.

A natural amphitheatre is a performance space located in a spot where a steep mountain
or a particular rock formation naturally amplifies or echoes sound, making it ideal for
musical and theatrical performances. An amphitheatre can be naturally occurring
formations which would be ideal for this purpose, even if no theatre has been
constructed there.
 TYPES OF THEATRES
• Arena
• Thrust
• End stage
• Flexible theatre
• Environmental theatre
• Promenade theatre
• Black box theatre
• Proscenium theatre
• Recital hall
 COURTYARD THEATRE
• The term courtyard theatre embraces a range of theatre forms, all with
the common characteristic of at least one raised seating gallery
surrounding a central area. Often this central area is flexible, and can be
configured into arena, thrust, endstage, and flat floor configurations.
Sometimes the central area has fixed seating that faces a proscenium
opening and stage.
 SEATING LAYOUT EXAMPLES

• Example #1:
• Basic Theater Form – End Stage.
• Quantity of Seats – 55.
• Seating Area – 450 Sq. Ft.
• Space Per Seat – 8.23 Sq. Ft.
• Row Spacing – 2′ 9″
• Most Distant Seat – 22′-0″
• Stage Elevation – None
• Floor Design – Flat / One Riser 8″
• Example #2:
• Basic Theater Form – 3/4
Arena.
• Quantity of Seats – 56.
• Seating Area – 622 Sq. Ft.
• Space Per Seat – 11.1 Sq. Ft.
• Row Spacing – 3‘ 3″
• Most Distant Seat – 32′-0″
• Stage Elevation – None
• Floor Design – Risers 4“
• Example #3:
• Basic Theater Form – End Stage.
• Quantity of Seats – 80.
• Seating Area – 700 Sq. Ft.
• Space Per Seat – 8.75 Sq. Ft.
• Row Spacing – 3‘ 6″
• Most Distant Seat – 25′-0″
• Stage Elevation – 3′-6″
• Floor Design – Risers 6″
 VOLUME FOR SPEECH
• To achieve the optimum reverberation time for speech, which is generally between
0.75 and 1.09 seconds for a large auditorium when occupied.
• There must be a balance between the volume of the room and the degree of
sound absorption
• Since 50- 60% of the total absorption is generally accounted by the audience, the
hall volume should be in theory about 2.8 to 3.0 m per seat giving a ceiling height
of 4.7 to 5 m
 VIEWING CRITERIA
• Viewing angle for screen projection – 45 maximum
• Viewing distance – 6 times image width maximum
• The optimum distance for seating is between 3 – 5 m times image width
• Vertical angle maximum 30 from the nearest seat to the top of the screen

• LIMITING DISTANCE:
• With 0.5 stage – 6m from speaker
• With 1 m stage – 12 m from speaker
• Screen fixed at 1.8 m height
 SEATING TYPES
• Individual chairs capable of being linked together in rows stacked and store away,
with or without arms, with or without writing tables.
• Fixed seating of various seating of various degrees of comfort with or without tip
up seats
• Retractable seating systems capable of folding down on to tiered staging ( whih
includes aisles)
• Whole arrangement being retractable and store in relatively small area flat
auditorium floor capable of being used for other purposes

• SEATING MINIMUM DIMENSIONS:

• Back to back distance between rows of seats
• With tip up seats – 750mm
• Width of seats – 460 mm
• Width of seats linked without arms – 500 mm
• Unobstructed vertical space between seats – 300 mm
 SPACES FOR TEACHING

• Almost all of the theatres can be part of an educational building. Although

additional consideration may arise specifically for the purpose of teaching:
• SINGLE PURPOSE SPACES: venues used for academic purposes should be
designed to host activities all throughout the year.
• INSTRUCTIONAL SPACES: performing spaces in campuses must be
designed to be instructional. They need be small compact and intimate. In
scale with the performer. control rooms and services can be provided as
required by the instituition.
• STAGE TECHNOLOGY: Appropriate stage technology might be required.
Stage modulation might also be desirable if a performer has to use the
volume of the stage.
 PROPS
• Props are nothing but the objects used on stage to support the dance or
drama.
• They are anything that is portable on the stage or the set, dissimilar from
the performers, costumes, scenery, lighting and other electrical tools and
equipments.
• Props an be present on the stage before the at or can be brought in during
the performance.
• Props are placed on a prop table lose to the performers entrance near the
wings, during the performances, otherwise they are stored in specific
rooms when not required.
• Different performances require different props based on their
requirement
 AUDITORIUM

• Primary objective = bring in as many people as possible within the optimum range
of distances from the performance area, by:
increasing the degree of encirclement in plan
• vertical layering eg. add in one or more tiers - this has the advantage of increasing
number of seats without unduly increasing the distance from the stage. However, is
more difficult to get good sightlines - shallow tiers help resolve this
• Auditorium
• Do not have the audience too obviously split - downplay the division of the
balconies by placing the seats close to the edge...with railings designed to lean on.
Balconies to be no more than 2 seats deep

No reflective materials around the stage that would distract the audience (unless
intentional)
Advantages of balconies:
bring more people visually closer to the stage
• not so obvious when there are lots of empty seats (eg. can close off the top tiers) -
better atmosphere
• Seats
audience in balconies will be looking down, not reclining
• balcony edges should be comforable for leaning on
• ideal scenario would involve adjustable seating (heights) in the top rows,
moveable seats like the Q theatre
• Allow at least 0.5m2 per person (seated)
• width-row spacing of 0.45m2 (or more)
• max of 16 seats per aisle OR 25 seats if one side exit door of 1m width is
provided for every 3-4 rows
• exits/escape routes - 1m wide per 150 people (min width 0.8m)
Plays
Visual limits - usually it is essential for the audience to be close enough to discern facial
expressions so the usual accepted max = 20m (from centre of perfomance area)
Acoustics - period of reverberation must be shorter for clarity of speech
Musicals, operas
Visual limits - facial expressions are less important so the usual accepted max = 30m
Acoustics - period of reverberation is longer for music and longer still for choral singing
 ORCHESTRA PIT
• This is located below the audience seating or between the stage and the
audience.
• The audience requires to hear a balance of singers and orchestra, espeially
for opera
• The actual production will have specific orchestral requirements with
variation in the size and composition of the orchestra
• The condutors eye level must not be lower than the stage level when
seated on a high stool
• To minimize the gulf between stage and audience, the pit can extend
under the stage front for a distance not greater than 2m
• The floor level of the pit should be adjustable between 2 – 3m below the
stage level to suit the different requirements of the musicians and director
• The fire separation between auditorium and stage must be maintained
including the entry point into the pit acess must be possible from both
ends
• Lifts may be required to reduce the size of the pit and acoustics
•The orchestra pit requires its own ventilation systems and locally controlled
•The orchestra pit requires acoustic treatment and working lights asa well as the
socket outlet for lighting to music stand
 vision

NB. 'P' is the lowest and nearest point which the whole audience should be able to see clearly
HD = horizontal distance (linear) between the eyes of the audience in consecutive rows
Average eye height is normally assumed to be 1120mm (but depends on seat design)
Balcony front height can be assumed to be 790mm
 TOILETS
A general guide to minimum requirement is as follows:
• Men WC’s minimum of 2 for upto 500 males then one for each additional
500
• Urinals minimum of 2 for upto 100 males. Then one for each additional
100
• Wash basins one for each WC plus one for each 5 urinals
• Women WC’s minimum 2 for upto 75 females, then one for each
additional 50
• Was basins one for each WC
• Also, consider powder shelves, long mirrors and sanitary, towel dispenses
and disposal in women’s toilet and toilet and provision for changing
napkins.
• Allow for hand drying facilities: either electric warm air dryers, roller
towels or paper towels with containers for disposal.
• Separate toilet or toilet for disabled persons, containing 1 WC and 1 wash
basin in each toilet are essential provision
• Toilets should be located off the main circulation near the entrance lobby
and also at each level of the foyer in a multilevel auditorium.

PARKING:
 THE VIEWER
• The horizontal angle of polychrome vision is generally 40 degree without
eye movements
• The horizontal angle to the projector screen at which distortion on the
screen becomes substantially intolerant is 60 degree measured to the far
side of the projected image.

LOCATION OF AUDIENCE:
• Audience will not choose a location beyond a line proximity 100 degree to
the curtain at the side of the proscenium
DESIRABILITY OF LOATIONS BY AUDIENCE:
• Judged by the ability to recognise shapes, and confirmed by free audience,
choice of seats, the following are the desirable locations
• A – front center
• B – middle center
• C –middle side
• D – front side
• E – rear center
• F – rear side
 CLASSROOM FOR CRAFTS

• General classroom - 55 m2 for 30

• General art room KS3/4 - 83m2 for 30
• 3D art room - 97m2 for 30
• 3D art room (textiles) - 104m2 for 32
 INFERENCE
• A theatre unit must
1. Accommodate the audience
2. Accommodate the performance
3. Bring audience and performances together in the most efficient way
• A interdependence of functions – optimising the audience performance
relationship in order to increase the appreciation of audience towards
the performances and also to encourage the performers to give their best
effort
• Development of plan – shape and size of the stage and auditorium acting
area and orchestra pit according to the audience
• Teaching spaces should be provided based on the type of art and the
props it requires
• Multi use theatres and teaching spaces can be made for similar form of
arts
• Flexible theatres can be used be as learning and teaching spaces
• Almost all of the theatres can be part of an educational building with
additional specifications.
 TODA HUT
• Providing houses for the toda people with their own style of
construction is important because withdrawing them from
their natural habitat might disturb their sustainable living.
• They reside in small Toda Huts also referred to as Todas
Hamlets. These structures, set at a distance of around 5.6 km
from the mainland of Ooty, are an original representation of
Toda community still in existence.
• The curious structure does not have windows and the semi
barrel shape huts are so small that people need to bend over
to enter from the main door.
• Each hut has only a tiny entrance at the front—about 3 feet (90 cm) wide,
3 feet (90 cm) tall. The unusually small entrance serves as a means of
protection from the weather as well as the sudden attack of wild animals.
• The front portion of the hut is decorated with the Toda art forms, a kind of
rock mural painting. On each side of the doorway is a raised platform,
equivalent to a verandah or thinna (built–in-seat), a semi-private area
where people sit and talk.
 KOTA HOUSES
• Houses in a Kota settlement are arranged in a row formation with
several rows. ( house = pai)
• The area or yard between rows is called a ‘Keri’ and each keri has a
name eg., nadukeri, ikeri, kil keri, etc. This unique feature of their
settlement also plays a significant role in arranging marriage
alliances.
• All houses have common side walls, thatched or tiled roofs and
have 3 doors. These are ‘munivail’ (main door), ‘naduvail’ (middle
door) and ‘mevail’ (backdoor. Bricks are used for construction.
NETCASE STUDY
SHILPARAMAM, HYDERABAD

NET CASE STUDY

• ABOUT THE BUILDING
• ARCHITECT- Cote Consultants Hyderabad.
• CLIENT-Shilparamam arts, crafts & cultural society.
• AREA OF PLOT-63.29 acres
• ESTABLISHED IN THE YEAR- 1992.
• Location : Madhapur road in hitec city, beyond Jubilee Hills in
Hyderabad.
• Significance : Crafts Village
• Attractions : Melas, Boating, Stage Performances
• Specifications : Exhibits Arts And Crafts From All Parts Of The
Country.
• The village was conceived with an idea to create an environment for the
preservation of traditional crafts. There are ethnic festivals round the year
• Shilparamam gives a scenic ambience of tradition and cultural heritage.
For promotion and preservation of Indian arts and crafts and to motivate
the artisans, the state government established this platform. Shilparamam
gives a scenic ambience of tradition and cultural heritage. For promotion
and preservation of Indian arts and crafts and to motivate the artisans, the
state government established this platform.
 CLIMATE AND SURROUNDING
• The climate of Hyderabad remains fairly warm through most parts of the
year and does not receive much rainfall in the monsoon. During the
summer months, the temperature raise up to 42° C while in winters the
minimum temperature may come down to as low as 12° C. HITEC City
stands for the Hyderabad Information Technology Engineering
Consultancy City. The high potential structures coming up in Madhapur
area. Front of the site covered a private open space, on right a grand cyber
building. Shilparamam, a contrast in time and substance to the Cyber
Towers.
 CONCEPT OF THE PROJECT
• •For promotion and preservation of arts & craft.
• •To showcase ethnic architecture.
• •Shilparamam is spread over land nestling by the hillside with natural slopes and
wild vegetation studded by unique rock formations.
• • The efforts of modern landscape architecture inspired by rustic aesthetics-brick
structures with thatched roof, walls decorated with traditional rangoli motifs-
create an authentic village locale.
• •The village was conceived with an idea to create an environment for the
preservation of traditional crafts.
• •The craftsmen have set up shops, more than 450 of them, decorated in simple
and rustic styles to sell the goods they make from textiles to artifacts and knick-
knacks.
• •The shops and most of the structures here are representative of rural aesthetics
manifesting in thatched roofs, rangoli-carpeted floors and folk frescos and murals.
 FACILITY PROVIDEDIN THE COMPLEX
• 1.PARKING
• 2.TOILETS
• 3. ARTISANS BAZAR
• 4. BOATING
• 5. RURAL MUSEUM
• 6. AMPITHEATRE
• 7. GRAMEENA (FOOD COURTS)
• 8. ARTISANS BAZAR
• 9. PRAKRUTI RAGA (ROCK MUSEUM)
• 10. SHILPA KALA VEDIKA (AUDITORIUM)
• 11. ROCK HIGHT
• 12. MOUNTAIN HEIGHTS
• 13. SAMPRADAYA VEDIKA (MULIPURPOSE HALL)
• 14. KOANASEEMA
• 15. TRAINING CENTRE
• 16. ADMINISTRATION
• 17.MAIN LAWN
• 18.SPECIAL MELAS
• 19.PAVALION
• QUALITIES OF ARCHITECTURAL SPACES DEPEND ON
FOLLOWING SHAPE:
• Most of the spaces are in geometrical forms with a irregular forms of open
spaces.
• SURFACE
• Walls are decorated in simple and rustic styles, rangoli motifs done on
walls and also folk frescos.
• HEIGHTS OF THE BUILDINGS
• Most of the buildings are single storey with sloping roof Height at centre is
about 5.4m & 2.4m.except auditorium Which has got more than 3m
height.
• SENSE & IMAGABILITY
• •Degree Enclosure
• •Light
• •View Most of the places Like pavilions for Artifacts gallery,
multipurpose hall, Food courts, small cold drinks shop, etc.
• These places had a quality of spaces which is very closely
related to natural things & also correlated to landscaping
features. These kind of spaces also encourages the interaction
between the people. To create more eco friendly environment
material were used like thash sloping roofs brick walls
containing rangolli patterns.
FUNCTION OF EACH FACILITY PROVIDED IN A
COMPLEX
• PRAKRUTI RAGA(ROCK MUSEUM)- It is scenic rock garden that draws
people seeking peace & relaxation. This garden has many exhibits in the
natural rock formations, for each formation of rock they had given a name
of various animals, birds etc.
• RURAL MUSEUM: This museum designed in a typical Indian village. Over
15 life-size huts, authentically constructed out of backed clay and thatch,
depict rural or tribal lifestyles and the life of various artisans. It provides a
window to rural life for city dwellers and those who have never visited a
village before
• LANDSCAPE FEATURES - Implication of the graphics & sinages systems is
done throughout the site. MAIN LAWNThe hitec city is dominated by tall
concrete structures, the green lawns in complex are a welcome change for
everyone. This lawn dotted by ethnic motifs, terracotta Sculptures. The
main lawn is also being the centre stage of action for performing folk art
form, or nomadic tribal.
• MOUNTAIN HEIGHTS - It is popular for evening parties. Landscaped
gardens, waterfalls & Fountain cascading, & most important the lighting is
particularly which creates an almost magical glow around the area. It is
provided for the capacity of 2,000 people.
• AMPHITHEATRE(O.A.T.)- The O.A.T. provides the perfect ambience for the
people to relax and enjoy a variety of cultural programs, including classical
music, dance folk art performance every weekend. This amphitheater
having 1,000 people capacity.
• GRAMEENA(FOOD COURT)- It is a pure vegetarian restaurant with an ethnic
feel.
• SAMPRADAYA VEDIKA - It is multifunctional hall provided for the family
functions like marriages etc With the capacity of 2,500 people.
• KONASEEMAA - picturesque lakeside setting for private parties for
between 150 and 200 people. It is a replica of the lush delta of coastal
Andhra Pradesh. An coconut trees which give nice feeling of coastal area.
• CIRCULATION PATTERN - There are mostly single storey building units in the
site, the circulation pattern is Horizontal that it forming pedestrian
movement or pathways.
 INFERENCE
• Because of the concept of ethnic architecture building looks prominent in the
surrounding.
• Good segregation between recreation areas, shopping areas, office areas, family
Entertainment areas etc
• Separation of pedestrian and vehicular moment.
• A good service road. Enough width of pathways which can be used for
multifunction like for exhibits, Some food stalls during melas, Its justifies the to site
by using natural lakes for boating.
• Well use of contours to the design.
• Rock gallery which has many exhibits in natural rock formation.
• Built spaces mostly resembling residences
• Built spaces are in coordination with the open spaces and related to
nature
• Pathways are clearly defined and rightly guiding
• Open spaces exhibits near the food courts
• Dining area with engaging open spaces
CASE STUDY REPORT
 DHAKSHINA CHITRA
• INTRODUCTION

• Dakshinachitra is an exciting cross cultural

living museum of art,
architecture, lifestyles, crafts and performing
arts of south India.
• One can explore 17 heritage houses, amble
along recreated streetscapes,
exploring contextual exhibitions, interacting
with typical village artisans and witnessing
folk performances set in an authentic
ambience.
• Dakshinachitra literally means - "a picture of
the south Spread over a huge expansive land
of 10 acres
• Dakshinachitra is more than just a venue-it is
a heritage village, a place where
contemporary art music and dance forms of
the south finds its manifestation into a
journey of discovery and self-learning
• SITE LOCATION:
• Dakshinachitra occupies ten acres
overlooking the bay of Bengal, at
Mutakadu twenty five kilometres
south of Chennai on the east coast
road to Mamallapuram, Tamil Nadu,
India
• Architect: Laurie baker
Benny Kuriakose
Client: madras craft foundation
Contractor : Ravindran
Built up area: 3 acres
Construction time :10 years
Cost of project: 70 lakh
• CLIMATE:
Rainfall is moderately low
The temperature is high
The relative humidity is semi-humid
• The entry to Dakshinachitra is very
cosy and small like entering a south
Indian home
• The various play with twick at the
entrance compound wall façade etc.
bore witness to the involvement of
brick master in the design
• There were the archetypal chocolate
pillars, thatched roofs and richly
carved doors which effectively
restricts the view into the interiors,
thus leaving the imagination to us
• And the inside art is well worth hiding
once you enter the village the
world is entirely different from the
urbansetting outside
• GENERAL • TAMIL NADU SECTION
Reception centre Merchant house chettinadu,
Craft shop
Seminar hall orientation film putukotai district
Gallery for temporary exhibitions Agriculturists house
Restaurant Potters house
Library and archives Basket weavers house
Mandapam
Ayyanar shrine
Canteen
Craft bazaar Weavers house
Amphitheatre Textile exhibition
Activity hall Agraharam brahmin house
• KERALA SECTION Art exhibition
Hindu house-trivandrum district
Cattle shed
• ANDHRA PRADESH SECTION
Hindu house-calicut district Ikkat weavers house
Granary and textile exhibition Coastal Andhra thatch house cattle
Syrian christian house-puthupally shed and grananry
Small pavilion padipura
• KARNATAKA SECTION
Weavers houses

• AMENITIES
Guest house
Artisans quarters
Lathe workshop
Driver's shed
Parking
Gallery and stores
Restaurant
Craft shop
Tea shop
• PEDESTRIAN FLOW
All pedestrian paths were paved by
stones with trees on either side
The pedestrian flow was clearly
demarcated from the paths used for
commercial purposes The pedestrian
flow gets branched out from the
entrance to various state's houses
• VEHICULAR FLOW
The vehicular flow is restricted at the
entry plaza itself
The parking sheds are also provided in
traditional style roofing
• VEGETATION
• Trees are seen in dense ne
the parking area, guest houses
Kerala section and Karnataka
section Trees are seen in other parts of
site also along the pathways
Regions marked in yellow
were devoid of trees Palm trees.
Coconut trees
were majorly seen
• WATERBODY
• The artificial pond runs from the oat
long the Tamil Nadu section , Kerala
complex and artisans complex
• The flow of water bodies are
bounded with stones
• Wooden bridges run above the water
bodies connecting the children's play
area and the Tamil Nadu section
• These ponds get filled during rainy
season as these ponds serve as a
collecting point for the entire site.
• These ponds get dried during other
times and it gives a barren view from
the Tamil Nadu section and play area
• TAMIL NADU SECTION

• Mostly, tamil houses have an

inner courtyard which is used for
drying grains,
shelling pods and for functions.
There will be a raised verandah or
small seating area in the front of
the house,
called a tinnai
The houses from tamil nadu at
dakshinachitra were typical
houses found in many
villages throughout tamil region.
• KARNATAKA SECTION
• WEAVER'S HOUSES FROM IKAL
This cluster from llikal, Bagalkote
district represents an urban
settlement pattern and is typical of
weavers' houses in the northem
region of Karnataka The wooden
gateway, stone and wooden window
mark the entrance to the Karnataka
section are the remnants of a house
which was built in the 18th century
and belonged to one of the oldest
known families in the town. Almost
all houses in northern Karnataka are
built of stone. Each area has its
distinctive stone. The colours vary
from area to area as does the way
the stone is quarried and the
preferred shapes and sizes used for
construction. In Ikal, the stone is
granite
• ANDHRA SECTION
• WEAVER'S HOUSES FROM
NALGONDA DISTRICT
Most weavers' houses and other
village houses in Nalgonda and
Warangal district follow a style
locally known as bhawanti. The
plan used commonly is the chitra
sala, with three bays or sections
and a small courtyard in the
middle. The building materials
include bamboo Teapers, palmyra
heams and semi-circular roof tiles
• KERALA SECTION
The architecture, environment and
culture of Kerala stand in marked contrast
to that of TamilNadu.Unlike the Tamilian,
the Keralite prefers to live isolated from
neighbours in the middle of a plot of
land, with privacy and beautiful tropical
vegetation. In Kerala houses, technique,
form and materials are basically the same
for all classes and economic levels. Only
size or the addition of more buildings to a
compound separate the rich from the
power Kerala section in Dakshinachitra is
punctuated in form
by the religious architecture of its three
communities - the Hindus. Christians and
Muslims. While the domestic architecture
of the three
communities is similar, small details
such as a cross or a gable distinguish
one type from another.
• OTHER SPACES
• The pavilion and kalyana mandapa is
in chettinadu style with restaurant
adjacent to it
Gable roof are used with mugappu
kerala style) Columns and doors are
of traditional
chettinad style
• CHILDREN'S PLAY AREA:
• This area were lined with tall trees
giving good shadle even in the day
time. The maintenance of this park
area was poor and the installations
were not properly maintained.
• Craft bazaars are present for various
artist coming from different parts of
india to showcase their products and
carn income This is a permanent
structure for temporary artists
Stone carving workshop is found
adjacent to the craft bazaar.
• ARTISANS COMPLEX
This area was restricted for artisans
With guest houses for artisans coming
to the village during special occasions
Artisans quarters was present for the
workers employed in various activities
going on in the heritage village
Activity hut was present for artisans
from various parts to exchange their
ideas Craft corner was present for the
artisans to merchandise their products
and this is permanent market
• Open air folk performances:
• Open folk performance area was
the first place we see after
entering the Dakshinachitra
• This place had trees but it was
not dense enough to serve as a
shelter
• People who were sitting here to
see the folk performances didnt
seem comfortable because of
scorching sun rays in this area.
• Activity hut:
• This permanent structure is
where students have regular
classes going on to learn the
traditional arts
• This place was very congested
and the classes where much
disturbed with the tourist
coming to visit the place
 INFERENCE
•
Dakshinachitra forms an unique environment to express architecture as a piece of
our culture, history and folk arts..This gives a prominent idea on the native south
Indian architecture
• Site planning has enabled the artisans community to live and blend.
• This is a best example to understand the workmanship possessed by artisans and
builders in early time. This serves as a learning hub for the young generation to
know the past, conserve it and grow effectively for future Inspires the tourists to
visit the respective place from where these buildings have placed and to explore
their native lands.
• The entrance plaza would have been in monumental scale.
• The ticket counter could have been in a more open space.
• The construction was with locally available material and hence the maintenance
was quite easy and economically viable.
• The buildings were efficiently planned based on the climatic factors of Chennai,
orientation, materials etc but still depicting each state in a most apt
way by retaining the most essential elements.