The Interdependence Of Folklore

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Folklore is never ‘just’ folklore. Folklore is the sharing of the experiences and occurrences that are part of our everyday lives. Whether intentional or not, everyone is involved in the creation, transmission, performance and assimilation of folklore. Folklore is perhaps the oldest mode of disseminating human knowledge and information through attitudes, habits, social customs, traditions, and consciously, through the arts of music, poetry, drama, visual arts, literature and film.
Folklore contextualizes culture. It is the symbiont, which contributes to and borrows from both language and culture. The interdependence of these three is epitomized by the relationship of the expression of folkore through language and the moulding of language
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Likewise the Folklore Films are made and their existence is a protean one, adapting to time and place-tales that embody artistic and moral energies that direct the trajectory of change. In the tales we can perceive the people's motivations and sources of psychology renewal, which lead to new ways of living.
Folk literature also known as verbal art or expressive literature is a broad genre of folklore which is always concerned with the literary traditions handed down by word of mouth from generation to generation. Folk literature is still popular among the Khasis and is treated as an important piece of their tradition. Folk literature includes both narrative and non-narrative forms, where narrative is found both in prose and in verse forms.
In Meghalaya, there are a few folklore narratives, which have been adapted and reconstructed into films. The first folklore film to be made in Khasi was ‘Manik Raitong’ or “Manik the Wretched”. The story of “U Manik Raitong” is found in several renditions in prose, poetry and drama. This film is based on a popular legend which can be found in Nongkynrih (2007), Esther Syiem Nehu Journal (2003) , Bijoya Sawian in the “Muse India” (2005), and P. R. T. Gurdon “The Khasis” (1987)
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