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ASSIGNMENT SOLUTIONS GUIDE (2014-2015)

T.S.-4
Indian Culture: Perspective for Tourism
Disclaimer/Special Note: These are just the sample of the Answers/Solutions to some of the Questions given in the
Assignments. These Sample Answers/Solutions are prepared by Private Teacher/Tutors/Auhtors for the help and Guidance
of the student to get an idea of how he/she can answer the Questions of the Assignments. We do not claim 100% Accuracy
of these sample Answers as these are based on the knowledge and cabability of Private Teacher/Tutor. Sample answers
may be seen as the Guide/Help Book for the reference to prepare the answers of the Question given in the assignment. As
these solutions and answers are prepared by the private teacher/tutor so the chances of error or mistake cannot be denied.
Any Omission or Error is highly regretted though every care has been taken while preparing these Sample Answers/
Solutions. Please consult your own Teacher/Tutor before you prepare a Particular Answer & for uptodate and exact
information, data and solution. Student should must read and refer the official study material provided by the university.
PART - I
Q. 2. Do you agree that use of handicrafts in tourism promotion has improved the condition of artisans in
India? Substantiate your answer with suitable examples.
Ans. Tourism as the largest service provider in the world, has gradually assumed greater significance and dimensions,
securing an eminent place for itself in the world economy. Tourism, which is referred as smoke-free industry, greatly
contributes to Gross National Product and absorption of foreign currency in countries where tourism industry has recently
blossomed. At the same time other countries have also made remarkable progress on the issue. Tourism and Handicraft
no doubt are inextricably connected with mutual advantage in building and promoting one sector to support the other. The
fundamental connection between handicrafts and tourism resonate particularly well in this ancient birthplace of trade,
human settlement and abundantly rich culture. This paper is mainly concerned with natural link between handicraft and
tourism.
Handicraft was part of daily life and culture of India, and it also aimed at transforming purely functional works into
sublime works of art. Indians have always crafted goods for utilitarian purposes, religious rituals and for beautifications.
Starting from the crude wooden toys and carts excavated from the Indus Valley Civilization, to the modern fashion
accessories, the saga of Indian handicrafts continue through the ages. Arts and crafts of Karnataka have been an inseparable
part of peoples life. Karnataka is among those states that still employ traditional methods for producing their arts and
crafts. Channapatna, also known as Gombegala Ooru (toy-town) of Karnataka, is famous for its wooden toys. This
traditional craft is protected as a geographical indication (GI) under the World Trade Organization, administered by the
Government of Karnataka. This study aims to understand how tourism could be used to increase awareness among
tourists, and to study the role of stakeholders in promoting Channapatna handicrafts, reviving it as the traditional craft of
Karnataka
Handicraft was one of the major components of the Renaissance of Indian thought in the 19th and 20th centuries, as
social reformers started promoting village based crafts for cultural and economic regeneration of India. Mahatma Gandhis
charka symbolized this profound thought and became a mighty tool for the fight for Indias independence. The long
years of colonialism had successfully marginalized Indian traditional arts and crafts. Handicrafts have always been an
integral part of life and culture of India. Handicraft, more precisely expressed as artisanal handicraft, sometimes also
called artisanry, is a type of work where useful and decorative devices are made completely by hand or by using only
simple tools. It is a traditional and main sector of craft. Usually the term is applied to traditional means of making goods.
The individual artisanship of the items is a paramount criterion such items often have cultural and/or religious significance.
The repercussion that tourism development makes on developing economy could be analysed by looking on its
linkage with other sectors of the economy as well as with the socio-cultural life of the destination. In the wake of the
increased role of culturally themed programmes in the global tourism sector, tourism development in an individual
destination has the potential to generate demand in the various objects and services, and one of which is local handicrafts.
Throughout the world, crafts and traditional arte facts are objects of curiosity for contemporary tourists. While tourism-

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induced-consumption may create demand for the traditional craft sector, the repercussions are far reaching.
PART - II
Q. 1. Tourism and culture are interrelated. Elucidate with suitable examples.
Ans. Cultural tourism (or culture tourism) is the subset of tourism concerned with a country or regions culture,
specifically the lifestyle of the people in those geographical areas, the history of those people, their art, architecture,
religion(s), and other elements that helped shape their way of life. Cultural tourism includes tourism in urban areas,
particularly historic or large cities and their cultural facilities such as museums and theatres. It can also include tourism in
rural areas showcasing the traditions of indigenous cultural communities (i.e. festivals, rituals), and their values and
lifestyle, as well as niches like industrial tourism and creative tourism. It is generally agreed that cultural tourists spend
substantially more than standard tourists do. This form of tourism is also becoming generally more popular throughout
the world, and a recent OECD report has highlighted the role that cultural tourism can play in regional development in
different world regions. Different mindsets underpin trips to Britain and visitors often act on a continuum of experience
from the shallow (doing the attractions; been there, done that; ticking off the list) to the deeper more meaningful
experiences. With the latter, there can be more profound interest in Britain and attractions eg the significance of attractions.
Even when culture is not the primary motivator for travel, visits to cultural attractions are still an important part of the
holiday experience.
City tourism and culture have a strong partnership - they are highly interrelated although many city trippers dont
define themselves as cultural tourists despite the activities they are undertaking. As we have seen there are different
types of cultural tourists and there are opportunities to address their motivations in different ways. Cities that are able
to offer new reasons for a visit will be in a much stronger position to face the competition. This involves the need to
reinvent the wheel and present new cultural tourism products to consumers.
Culture refers to all the aspects that make up a peoples way-of-life, including the arts, how they make a living,
architecture, and land use patterns in the community. Culture is a significant part of tourism. Many tourists seek enrichment
in meeting new people and exploring diverse cultures. A chance to experience cultural diversity or the attributes of culture
in a particular destination is an important travel motivator. In the past, cultural tourism was for the wealthy elite. Today, it
is increasing as more people have higher disposable incomes and more holidays, resulting in more investment in the
industry by both governments and the tourism business community. Improvements in communication and transportation
technology have promoted cultural awareness. They have also contributed to many trends related to cultural tourism as
well as to the democratization of travel. Most cultural tourists are well-educated. Younger tourists often prefer to travel
individually or in pairs to meet new people face-to-face, stay in hostels, and participate where possible in festivals and
heritage events (alternative tourism). Many older people enjoy experiencing culture from more of a distance, taking
guided tours (mass tourism) with westernized accommodations and food. Blockbuster shows in galleries and museums
as well as heritage conservancy appeal to cultural tourists.
Q. 3. Write a note an Indian Classical Dances.
Ans. Indian classical dances are:
Dances are performed inside the sanctum of the temple according to the rituals called Agama Nartanam. Natya
Shastra classifies this type of dance form as margi, or a soul-liberating dance.
Dances performed in royal courts to the accompaniment of classical music are called Carnatakam. In the most
essential sense, a Hindu deity is considered a revered royal guest in his temple, and should be offered all of the
sixteen hospitalities, among which are music and dance. All of the sixteen hospitalities are intended to be
pleasing to the senses.
India has thousands of year old tradition of fine arts and classical and folk music and dances. Some of the worldfamous dance forms that originated and evolved in India are Bharatnatyam, Kathak, Kathakali, Kuchipudi, Manipuri,
Mohiniattam and Odissi. All these dance forms use basically the same mudras or signs of hand as a common language
of expression and were originally performed in the temples to entertain various Gods and Goddesses. They were also
effective in carrying forward the various mythological stories from generation to generation while entertaining the audiences.
It eventually became a part of Natya Shashtra, as propounded by Sage Bharata to compile and forge some rules and
regulations of entertaining arts.
With time, the classical dances evolved to include the expressions and themes from social life and experiences. Lord
Shiva is said to be the Nataraja meaning King of All Dances, who is said to perform the Cosmic Dance that delicately
balances life and death and all that is happening in the Universe in harmonious cycles. Bharatnatyam, popular in Tamil
Nadu and Karnataka, is said to be revealed by Lord Brahma to Bharata. Kathak is the art to tell a story and is a form of

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North Indian classical dance. Later, it became courtly entertainment.

Kathakali from Kerala makes use of colorful masks and costumes and belongs to Kerala. Kuchipudi is the dance
drama of Andhra Pradesh that combines Natya, Nritta and Nritya. Manipuri, as the name suggests, is from Manipur, the
Northeastern state of India, and is a combination of many dances prevalent in the region. Mohiniattam from Kerala is a
solo female dance and is known for its rhythmic and unbroken flow of the body movements. Odissi from Orissa is a dance
of love, joy and intense passion.
Bharatnatyam: Bharatnatyam is one of the most popular classical Indian dances. Bharatnatyam is more popular in
South Indian states of Tamil Nadu and Karnataka. Bharatnatyam dance is almost 2,000 years old. It is believed that
Bharatnatyam was revealed by Lord Brahma to Bharata, a famous sage who then codified this sacred dance in a Sanskrit
text called the Natya Shastra. The Natya Shastra is one of the fundamental treatises on Indian drama and aesthetics.
Kathak: Kathak is one of the most important classical dances of India. Kathak is said to be derived from the word
katha, meaning the art of storytelling. The Kathak dance form originated in north India and was very similar to the
Bharatnatyam dance form. In ancient India, there were Kathakars or bards who used to recite religious and mythological
tales to the accompaniment music, mime and dance.
Kathakali: Kathakali is the classical dance form of Kerala. The word Kathakali literally means Story-Play.
Kathakali is known for its heavy, elaborate makeup and costumes. In fact, the colorful and fascinating costumes of
Kathakali have become the most recognized icon of Kerala. Kathakali is considered as one of the most magnificent
theatres of imagination and creativity. Kathakali dance presents themes derived from the Ramayana, the Mahabharata and
other Hindu epics, mythologies and legends.
Mohiniattam: Mohiniattam is a classical dance form of Kerala. Mohiniattam is derived from the words Mohini
(meaning beautiful women) and attam(meaning dance). Thus, Mohiniattam dance form is a beautiful feminine style
with surging flow of body movements. Mohiniattam dance in Kerala developed in the tradition of Devadasi system,
which later grew and developed a classical status.
Odissi: Odissi is one of the famous classical Indian dances from Orissa state. The history of Odissi dance is almost
two thousand years old. Odissi is a highly inspired, passionate, ecstatic and sensuous form of dance. Like most of the
South Indian classical dances of India Odissi too had its origin in the Devadasi tradition. The state of Orissa has a great
cultural history.
Kuchipudi: Kuchipudi is one of the classical dance forms of the South India. Kuchipudi derives its name from the
Kuchipudi village of Andhra Pradesh. In the seventeenth century the Kuchipudi village was presented to the Brahmins,
who were experts in staging dance and drama. Kuchipudi exhibits scenes from the Hindu Epics, legends and mythological
tales through a combination of music, dance and acting. Like other classical dances, Kuchipudi also comprises pure
dance, mime and histrionics but it is the use of speech that distinguishes Kuchipudis presentation as dance drama.
Manipuri: Manipuri is one of the six major classical dances of India. Manipuri dance is indigenous to Manipur,
the North eastern state of India. The Manipuri dance style is inextricably woven into the life pattern of Manipuri people.
The most striking part of Manipur dance is its colorful decoration, lightness of dancing foot, delicacy of abhinaya (drama),
lilting music and poetic charm. The Manipuri dance form is mostly ritualistic and draws heavily from the rich culture of
the state of Manipur.
Q. 6. What are the roles and responsibilities of museums in cultural tourism promotion?
Ans. Museums provide a unique interactive experience of getting up close to things we usually only see in books,
newspapers or on the television. Seeing the Mona Lisa for example, is a totally different experience to seeing one of the
millions of printed versions; the perception you get of something from a second-hand source is often completely different
to the one you get when you see something with your own eyes. Simultaneously, more institutions have also become
aware of their potential to add value to their community by attracting cultural tourists. They have become key partners in
the tourist industry, and an important part of the creative and cultural industries. Thus, the role of museums has diversified
in the 21st century.
Culture has become a key factor in the competition among cities to attract visitors, and an important part of the
service-based economy. The phenomenon of cultural tourism has attracted much attention. Load said that `cultural
tourism has been identified as a growing sector of the tourism industry. As the demand for cultural tourism has grown,
museums have become important partners in the tourist industry, and greater emphasis is now being placed on their
leisure function. With their unique features, rich connotations, flexible open hours, multiple exhibition facilities, shops
and restaurants they are ideally placed to satisfy a range of consumer needs. Museums work with the tourist industry in a
number of ways: by launching cooperative ventures with other cultural institutions, leisure venues and districts, and by

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supporting local festivals. From the economic viewpoint, museums are cultural products which attract tourists.
The economic benefit brought to local economies by the museum sector is now being recognized, and museums feel
more able to ask for public support and local authority subsidy (Audit Commission, 1991). This economic benefit is also
attracting the attention of museum managers and economic professionals. Myerscough et al. (1988) pointed out that
museums, as cultural institutions, are a basic foundation block of economic development in many cities, crucial for their
promotion of the tourism industry. He found that 3 out of every 10 visitors came to London for its museums. In The
Economic Importance of the Arts (1988), Myerscough et al. demonstrated the economic value of the culture industry in
the way that arts institutions can create job opportunities and provide the incidental value which stimulates both tourism
and local development.
Museums are a central part of the tourism industry, encouraging tourists spending (Myerscough et al. 1988). Economic
benefits relate directly to the profile of cultural tourists: they are more educated and have higher incomes than other
tourists, which results in more money spent per visit and longer stays on average. When visitors go into a region to visit
its museums, they will normally consume food, drink, even accommodation. The Policy Studies Institute (PSI) argues
that museums can attract tourists and day-trippers into the locality to spend money on admissions, hotels, shopping and
restaurants, improving the economic growth of the region as a result (1992). This positive benefit for the local economy
is called economic impact. By measuring the economic impact, the size of the benefit can be detected, offering powerful
evidence to convince the public to support these museums.
Q.7. How can government and media play an important role in Tourism Promotion?
Ans. The role that the media is playing in the various aspects of life is becoming increasingly greater each day,
especially in spheres like social interaction, and cultural and educational aspects of our life. As archaeological monuments
can articulate the traditions, customs and heritage of the past, the media can in its turn clarify todays values and civilizations
of the different countries and hence attempt to correct any widespread erroneous information. Both the media and
archaeological monuments have messages and missions with various dimensions. The media contributes greatly in activating
tourist attractions.
Before discussing the role of the media as an instrument in tourism policy, it should be noted that, broadly speaking,
the relationship between tourism and the media is one of inclusion. When speaking of tourism policy that focuses on
specific areas of tourism, the media become a mediator between tourism and society, meaning that they mediate in a
process of conveying tourism products from the producers to the consumers.
Media communications technologies are imperative for frontline investments for sustainable globalised tourism
development indicators. The powerful effects of media communications can bring sweeping changes of attitudes and
behaviour among the key actors in local, national and global tourism for peace, security and sustainable development.
The social, cultural, economic, political and environmental benefits of tourism would usher in monumental and historic
changes in the country. As the verdict goes, the media has a social responsibility to enhance the blending of local, national
and international cultural values for enriched politics, society and economy. Public communications strategy based on
access to quality information and knowledge will drive the new global tourism through partnership initiatives such as:
peace and security, conflict resolutions for eco tourism, quality tourism, Joint ventures, technology transfer, etc. In general,
the concept of traditional media is opposite idea of social media (Bruhn, Schoenmueller & Schafer, 2012, p, 770). In
addition, according to studies provided by Hsu, Killion, Brown, Gross and Huang (2008, p, 302) indicated that traditional
media consist by television, film, radio, magazines, newspapers and other print materials. These various forms of traditional
media play different roles in tourism promotion. For instance, advertisements are regarded as significant form among
tourism promotion. Tourism advertisements are available in different traditional media platforms, such as newspapers,
magazines and television. According to previous research from Hsu, et al (2008, p, 302) asserted, advertising in newspaper,
which is seen as the low-cost promotional way. Despite the feature of low-cost, Leckenby (2005, p, 24) asserted, newspapers
provide wide reach. As a result many tourism organizations prefer this form as the channel of promotion. Furthermore,
compared with advertising in newspaper, advertising in television is more expensive. According to Hsu, et, al (2008, p,
304) point out that a television advertisement can achieve national exposure and reach a large proportion of the population
if it is shown several times during prime-time shows over a number of weeks. It clear that advertising in television is
traditional and significant tourism promotional way. Additionally, tourism television advertisements are also regarded as
the important channel of national tourism campaign in the past few years.
Additionally, tourism brochures are one of common tourism promotional ways. Based on a literature review, assert
Brochures and other printed materials play a more significant role in tourism than in most other industries. It is clear
that brochures, as printed media, play a key role in tourism promotion. In addition, because of other forms of media are

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expensive for promotion, advertising in brochures is more popular forms of promotion in travel and tourism. Furthermore,
from the research of Andereck assert brochures is an influential source of travel information for tourists. In addition, a
variety of researchers exist which show brochure is one of significant and widely of promotional method available in
tourism industry. With rapid development of Information and Communication Technologies, according to previous
researchers, Andereck (2005, p, 3) suggested travel brochures continue being the main promotional tool for many places
or tourism business which does not have the necessary economic, human, technical or structural resources for spreading
information in a more complex or sophisticated way.
Q. 8. Write short notes on any three of the followings:
(a) Wool weaving technology in India
(b) Tourism and tribal areas in India
(c) Bhutia tribe
(d) Impact of Buddhism on Indian Society
Ans. (a) India weaving industry has conventionally been one of the most promising sectors of huge employment. In
fact, after agriculture, this industry is largest provider of work force. The abundance in the raw materials, the continuous
supply of cheap work force is the contributing factors behind the success of the weaving industry of India. However, the
liberalization of the international trade coupled with change in the reforms of domestic economy, have made affected the
weaving industry of India negatively. Indian weaving industry is one of the greatest employers of rural labor after agriculture,
providing employment to around 12.5 million people in India. Abundance of raw materials and availability of cheap labor
are the main reasons for the growth. There is a lot of demand for textiles both from within the country and outside.
Weaving products contribute to 4% of GDP. It is estimated that the industry will grow at a CAGR of 25-30%. The
industry contributes 14% of total industrial output and around 30% of total exports in India. The industry mainly consists
of unorganized players. There are approximately 5 million looms in India. Lack of innovation, high power tariffs, frequent
power outages, archaic labor laws, lowest number of shuttle less looms, outdated technology, absence of trade pacts with
other nations are some of the problems dogging the weaving industry that impact productivity. The weaving industry is
concentrated in Northern and Southern parts of India. Andhra Pradesh leads the pack as the Southern State with highest
number of looms. India has the potential to increase its textile and apparel share in the world trade from current level of
4.5% to 8% and reach US $ 80 billion by 2020. Waiver of overdue loans in the handloom sector by Government has
benefited 3 lakh handloom weavers.
Ans. (b) The Indian Society is not as simple as it looks from the outside. India has a large number of tribal people who
still belong to a social set-up, of which very little is known. These tribes who stay in different parts of the country are still
to come out of their traditional way of life and join the mainstream. Not-with-standing this apparent aloofness, these
tribes are very much a part of Indian society. Having a culture and tradition that is distinctly different from others, the
tribals still occupy the yet to be discovered horizons. India, along with Africa, has the largest tribal population in the
world. The statistics are quite astonishing: the 533 different tribes, made up of more than 80 million tribals, represents
almost 10% of Indias population. The lives of the tribes in India are closely tied to nature, and they inhabit some of the
most pristine and picturesque environments in the country. Largely unaffected by the modern world, theyre very simple
and often curious people, who have retained their rituals and customs.
Modern India has many indigenous tribes that even today retain their primitive customs and their lives are directly
associated with their natural surroundings. The tribals in India, are the pro-environmental communities who are fighting
to protect rivers, lands and forest that make for their livelihood. The congruity that exist between local tribals and Nature
only helps in making tribal territories full of exotic bio-diversities. In the western part of the country, in Rajasthan and
Gujarat you can witness a way of life that is colorful, while in South India, the skillful craftsmanship of Todas of Nilgiri
Hills will fascinate you. Their pastoral way of life clearly brings out the beauty in simplicity. In Central India, in the
picturesque Jharkhand, you will get to see the Santhals and the tribals of Bastar.
Ans. (d) Buddhism is one of the most important Asian spiritual traditions. During its roughly 2.5 millennia of history,
Buddhism has shown a flexible approach, adapting itself to different conditions and local ideas while maintaining its core
teachings. As a result of its wide geographical expansion, coupled with its tolerant spirit, Buddhism today encompasses a
number of different traditions, beliefs, and practices. It has been said that Buddhism came as a reaction to the corruption
of the Vedic ideals that were governing the Indian society. The Vedic ideals which were governing society till then had
become conventional and lost their inner force. As we have seen in the earlier chapter, the caste system had a high and
noble goal; but now it tended to become hereditary, rigid and inelastic. At the same time the teachings of the Vedic Rishis
were being applied in a more and more ritualistic and mechanical manner. Indian society was graded in such a way that all

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men could participate in a full life according to their stage of evolution under the control of Dharma. As and when one
was ready, one could take up the full spiritual life at the appropriate time. Life was not divided into the spiritual life and
the ordinary life for it was a gradual ascension into spirituality.
But now with the weakening of the Vedic ideals, spirituality waned and the fulfilment of life became an excuse for the
uncontrolled indulgence of desires and worldly satisfactions. A temporary period of negation was therefore necessary.
Buddhism with its exaggerated stress on the unreality of this world and worldly desires seemed to satisfy this need. In
sum, Buddhism came as a reaction to the lowering of the Vedic ideals. However, Buddhism by its exaggerated emphasis
on quiescence and self-abnegation, unwisely created a division in society; it created two distinct classes - the monk and
the layman, the man of the world and the spiritual man. This division implied that the man of the world was inferior to the
monk and thus relegated worldly action to the lowest importance. This division of society into two classes, namely the
spiritual seekers and the ordinary man created a disharmony and became the author of confusion in society.

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