While interacting with Ramshi Pattuvam, a popular folklore academy award winner and folk singer from Kerala, recently on the sidelines of a programme at Margao, Goa, I was aghast to hear that he was one of the proponents of an art that was gradually falling prey to the machinations of a 'reformation' that, while spelling entertainment all around, was sounding the death knell for the traditional form.

The way he regaled the full-house audience with his renditions of Kerala's more popular 'naadanpattu', it was difficult to believe that this genre of traditional art is literally gasping for breath due to the modern generation's indifference to anything 'ancient.'

'Nadanpattu' is a series of folk songs sung predominantly in the region called the rice bowl of Kerala, while saplings are planted in the fields. These songs, hummed by the locals, narrate tales of the land and the people. The songs are simple, lucid, highly expressive, and kept alive through oral tradition.

A glance through Kerala's archive of traditional art forms reveals that folk songs originated from the philosophies of forefathers. With no language barriers to restrict them from communicating with each other, these songs became an expression of their inner lives.

With the changing social scenario, folk song presentation styles have also changed. Transformed and restructured into a systematic music rendering form, these songs are now a big draw during social activities and other functions. The versions sung today show some linguistic changes.

Ramshi Pattuvam further explains that the modern versions owe their popularity to compositions set to fine music, while the ancient ones were colloquial in delivery and, hence, more expressive. He called the two distinct styles 'Varamozhi' and 'Vaamozhi.'

For many like him in Kerala, Pattuvam said, singing is a source of livelihood. Besides actively participating in annual festivals celebrating various traditional arts in the state, they have been doing their part in propagating and reviving public interest in this art form.

Similarly, many other traditional art forms in Kerala are also endangered. It must be mentioned here that temples in Kerala have been the fulcrum of socio-cultural activities in their region for ages.

However, the news that the Kerala government has conceived many ambitious plans to revive and popularise the state's traditional art forms amongst Millennials and GenZ should bring smiles to every Keralite's face.

But it cannot be denied that traditional Indian art forms face the brunt of modernisation and are slowly fading into oblivion. Modernisation is said to have several effects on society. But should modernisation come at the cost of our culture and tradition?

The rapidity of this process has been so severe that the modern generation is as ignorant about its past as it is uncertain about its future. Growing up with a fascination for everything that the technological advances of the time have presented them, anything 'outdated' hardly holds their fascination anymore.

Carried away by the novelties of the new age, the modern youth seems to have lost the appetite for traditional art forms. Yet, there have been several instances where modern artistes have dared to explore and innovate with more conventional forms.

While admitting that the prominence of traditional art forms has shifted due to factors that underline the changing trends that characterise the modern era, the fact that people are ready to experiment with the traditional to bring some sort of authenticity to their latest 'creations' speaks a lot for the legacy that has defied time.

The manner in which tourism these days has 'gone back' to the 'era gone by' to promote various attributes of a particular region indicates what the 'old' can do for the 'new'.

Yet, for the new generation, the old holds as much interest as a relic of the distant past compared to the modern wonders that are epitomes of scientific or technical excellence!

When a generation has to be reminded about its cultural legacy and traditional values by recalling moments of its glorious past, it can be assumed that the culture and traditions the ancestors took pride in are on the verge of extinction.

In showcasing their culture, traditions, and arts to the outside world as tourism aspects, state governments seem to forget that for as many visitors who are in awe of the region's marvels, there are an equal number—if not more—of locals who are complete strangers to an inheritance that should have been theirs by right but now amounts to nothing more than squandered opportunities.

Just as the 'Chokhi Dhani' in Jaipur, famous for its unlimited entertainment with its Rajasthani folk dances, live musical performances, puppetry folklore and astrological readings, which aims to bring back the essence of 'the Land of Kings' and its days of yore; the 'Ancestral Goa' theme park and the Big Foot Museum located in Loutolim is dedicated to rural Goan life.

This miniature village, conceived by its curator Maendra Jocelino Araujo Alvares and depicting Goa and 'everything that is Goan' as it appeared years ago, is a stark reminder to the present generation of Goans that they live in a land bereft of its rich traditions and culture.

Maendra, through his unstinted work, has earned himself the moniker of 'Cultural Ambassador of Goa'. And why not! When a person, through his personal efforts, is determined to imbibe 'Goenkarponn' - the spirit of Goan ethos - amongst fellow Goenkars, it definitely needs to be recognised as an unselfish struggle to preserve the true Goan identity.

Although modernisation and changing lifestyles have had an impact, several traditional crafts continue to be prevalent in Goa, offering insights into the region's cultural identity.

When I met Sagar Naik Mule at the Goa Raj Bhavan for a function last year, I learned about 'Kaavi Art.' An Indigenous art form from the Konkan region that draws inspiration from nature and was quite literally lost in the vagaries of time, 'Kaavi Art' is on the cusp of revival with the support of historians and architects. It draws its name from the region's red laterite soil.

As an enchanting form of mural creation notably gracing the aged structures and temples of Goa, 'Kaavi Art' symbolises devotion and cultural heritage and reflects the land's decadent aesthetic and spiritual essence. Sagar hopes Goa's 'Kaavi Art' gets the GI (geographical indication) tag.

Likewise, the 'Kunbi' saree, a symbol of the rich heritage and craftsmanship of the 'Kunbi' tribe—one of Goa's Indigenous tribes—has been declining in use over the last few decades.

The handwoven and dyed cotton saree was designed to be shorter so that women could perform household chores and agricultural work without getting their clothes dirty. The saree's use has declined as modernity has taken over, and the younger generation has sought to break away from tradition.

The Kunbi saree is being revived through various efforts, including government support, designer support, weavers' cooperatives, and handloom trading portals.

With a redefined craze for ethnic clothing, 'Kunbi' sarees have caught on with the people in their new avatar as designer wear. Besides sarees, the woven fabric is also used to design other garments.

It need not be mentioned that the coastal state of Goa is blessed with a rich cultural heritage reflected in various traditional crafts and artisanal practices. However, the revelation that various traditional art forms from various regions in the country are extensively used for diplomacy and tourism without any seriousness attached to reviving them only leaves unpleasant memories of the charade.

The gradual throttling of these creative activities for lack of patronage, considering that the traditional art forms passed down through generations, speaks for a very muted response to what could be termed a loss of identity and heritage for the new era. Therefore, efforts to revive and popularise them once again are indeed laudable!

These essays may hinge on attempts to integrate them with the new trends in vogue. But at least the traditional art forms will be kept alive for posterity's sake!