Impact of Media Coverage in Folk Culture

IMPACT OF MEDIA COVERAGE IN FOLK CULTURE
INTRODUCTION
Folk media are generally considered to be the non-electronic communication media

practices comprising part of cultural vehicle that transmits tradition from one generation to
another. These media have been playing an effective tool in disseminating a wide range of
information in the form of entertainment, news, and other social messages that continues to
exchange amongst their audience since the early days of their emergence albeit as local
channel or medium. The tribal people have developed their own indigenous medium in
various forms be it dances, songs, games, gesture, artifact, or costumes each of the items
expresses or communicates something or the other meaning that is understood by the
masses, and that itself symbolize the characteristic, feature, indigenousness of the medium.
Located in the northeastern part of India, Arunachal Pradesh is rich in its cultural and
traditional values. Like in other places, the various tribal communities in the state have their
own age-old traditional media. Nyishi, one of the major tribes in the state, effectively
employs indigenously developed traditional communication tools that carry various cultural
and social messages. By catering to their socio-cultural and information needs through
‘face-to-face’ presentation and interaction, their folk media earn credibility
through live performances and acts. Such traditional media, as usual are
advantageous to communicate effectively in Nyishi community in the
most simple and familiar form.
However, coincident with the recent concentration of various modern
mass media in the state, there has been a diminishing trend in the usage
of folk media amongst the Nyishi both in urban and rural settings
despite the fact that the accessibility of modern mass media such as new
media, television, radio, and newspaper is still poor to the rural folks.
Even if they get exposure to these media, chances of media-context
consumption would be minimum as the framework in which the
messages are packaged might not be familiar to the rural tribal people.
There are still villages where there is no proper electricity and road
communication. People in such places might not be able to view
television or access the internet. In the same way illiterate people will
not be able to read newspapers, books or magazines. However, this does
not mean they that do not communicate. Communication is the basic
need of human for survival, expressing idea, knowledge and thoughts
and, of course, development. Human beings have evolved ways of
communication, which are best of their culture, tradition and language.
As such folk media can mould and motivate numerous unwary illiterate
villagers in rendering information on health and sanitations, adult
education, women empowerment, employment generation, cultivation,
and so on.
Besides, there are some noticeable instances of convergence of folk
media with the modern mass media for various commercial purposes in
the field of arts and aesthetics, i.e., songs, dance, drama and movies.
Nonetheless, though such activities help preserve them, such
developments may pave the way for polluting the age-old traditional
media with the inclusion of modern elements thereby transforming their
pristine form. As such there is a real threat to the existence of the Nyishi
folk media in their original forms, which is potential enough to offset
the issue of identity of the tribal community. Over and above, the
downslide in the trend of using these folk media making way for
modern mass media may in the long run deprive the folk media of their
rightful existence.
Folk media facilitate communication among the rural masses for socio-
economic growth and development with utmost accuracy and precision
as done through electronic and printed mass media. As such, folk
media as well as electronic and printed mass media are unique in
their own ways. Despite their strength to do marvelous work
independently, together they can make communication more effective
and authentic when employed for developmental activities of the
society.
In such a situation, academic exploration of the folk media tools
practiced in Nyishi community and their evolution over time due to
various factors has got significance. Above this, it is also significant to
find some suitable strategy for documentation of these age-old folk
forms for preservation and circulation in the present times and for
posterity. The term folklore, derived from the German
Volkslehre(People’s customs) has been used differently in different
countries and at different times. Anthropologists use the term
synonymously for myths, legends, folktales, folk songs, proverbs,
riddles and variety of forms of artistic expressions whose medium is the
spoken word.
The term folklore has been derived from the German Volkslehre (peoples
customs) and has been used differently in different countries and at
different times. Anthropologists used the term synonymously for myths,
legends, folktales, folksongs, proverbs, riddles and a variety of forms of
artistic expressions whose medium is the spoken word. The term folklore
was coined by william Thomas in 1846.
Dorson (1976) observed that folklore outlines the hidden,

forgotten and backward culture. This culture, according to him
was hidden in two ways: a) deep in remote places in a
prehistoric past when the early man perceived the world
animistically or at least in the pre-Christian era when man
indulged in barbarous rites and b) in far off places Away from
the busy centres of civilization in the peasant villages of the
countryside and mountain ridges. Another folklorist Bascom
defined folklore as , “Folklearning which comprehends all
knowledge that is transmitted by word of mouth and all crafts
and techniques that are learned by imitation or examples as
Well as the products of these crafts”. Therefore folklore
according to him includes folk art, folk crafts, folk tools, folk
costume, folk beliefs, folk medicine, folk recipes, folk music,
folk dance, folk games, as well as those verbal forms of
expressions known as folk literature.
Ranganath (1980) described folk media as living expressions of

the life style and culture of people evolved through the years.
Wang and Dissanayake (1984) defined it as a communication
system embedded in the culture which existed much before the
arrival of mass media, and which still exists as a vital mode of
communication in many parts of world.
Classification of Folk lore
A) Oral Literature: This group includes spoken, sung and voiced

forms of traditional utterance that show repetitive patterns.
Hence folk narrative, folk song, folk poetry is part of this
category as it is propagated by word of mouth and is without
known authorship.
B) Material Culture: This is a visible part of folk behavior

that existed prior to and continue alongside mechanised industry.
Material culture is techniques, skills, recipes, formulae
transmitted across the generations and finds a place in the
houses, clothes, food, etc of the folk.
C) Social Folk Custom: In this grouping, group intearction is

important rather than individual skills and performances. The
customary practicses of these people are seen during the births,
deaths and marriages. The decoration of the houses are done to
ward off evils. Certain games and recreations or sports and
pastimes are learned through tradition rather than by codified
rules and regulations. Performing Folk Arts: They involve the
traditional use of music, dance and drama by adopting folk
instruments, dance costumes and props for the purpose of
amusement.
Categorization
• 1) Traditional folk theatre forms
• 2) Puppetry
• 3) Oral literature-cum-musical forms
• 4) Fairs and festivals including social, ritual and

ceremonial gatherings
• 5) Traditional youth clubs particularly in tribal area
• 6) Folk Dances
• 7) Ritual symbols, traditional designs and motifs
The word tradition connotes the act of handing down and what is
handed down from one generation to another. It is generally
understood as cumulative heritage of a society including customs,
habits and ways of life which becomes embodied in institutions
and then tend to become frozen because of stability.
Tradition therefore implies age and a long period of continuity. It

is transmitted through written scriptures or through word of
mouth. The tradition transmitted through word of mouth is
termed as oral tradition.
Types of Folk Theatre
• Religious Folk Theatre
• Commercial Folk Theatre
• Narrative Ballads
• Puppetry
Religious Folk Theatre
The re-enactment of epic religious myths in the yearly cycle or

religio-civic festivals may be seen as an insertion of India’s
historical and cultural identity. It usually involves non-
professional actors drawn from the local population and is
performed in the natural environment of the village square, temple
courtyards, gardens, palatial buildings. One example is the Raslila,
an epic religious Pagent performed over several evenings in
October throughout much of north India. It dramatizes the story of
Ram from his birth and childhood adventures to struggle with evil
powers and eventually victory over the demon king, Ravana,
Similarly Raslila recaptures the childhood pranks of Krishna.
Commercial Folk Theatre
There are a number of operatic folk theatres performed by city

based troupes of ten to twenty actors, musicians and singers.
They are hired by villagers for major festivals of the year.
Although the themes have a religio- mythic or romantic historical
base, they have a flexible form that has increasingly become
secular entertainment and sometimes includes socio-political
commentary. Yatra, nautanki and bhavai are of this kind.
Narrative Ballads
The most widespread forms of folk theatre are the long narrative
songs performed more often by local villagers who have handed
down the stories and musical skills for generations. In these
forms there is one principal performer assisted by singers and
musicians. The burrakatha of Andhra Pradesh or the
Veedhinatakam of Tamil Nadu are examples.
• Characterisitics
• Their appeal is personal and at intimate level. Their

primary appeal is to the emotions rather than the
intellect
• Cross cultural hurdles are not encountered here

• Rapport is immediate and direct
• Available to all and sundry and enjoyed by persons of different

age groups and at a very low cost
• Its impact is much deeper and easily available to the

customers.
• Very useful for community development
• They belong to community and not to

individual
• No threat of cultural colonialism or foreign

domination
• Local message and localized talent have more credibility than

the centralized ones
• These media are comparatively cheap
• Acceptability, cultural relevance entertainment value,

localized language, legitimacy, flexibility, message
repetition ability, instant 'two-way communication etc. are
among their virtues.
REVIEW OF LITERATURE
Studies have been conducted over the years with regard to folk media
and their importance. Some of the important works on the general
aspect of folk media and indigenous way of communication in different
parts of the world are found relevant and reviewed for in-depth
knowledge of the problem area of the present proposed study.
Bittner, J. (1989:9,18) defines communication as the dynamic process
of sharing (exchanging) information or messages between individuals
through verbal and writing symbols. Communication is the process of
sharing of ideas, facts, feeling through verbal and non-verbal
communication. The stories we heard as a child about the ancient
world, chiefs, legends, kings and queens who ruled years ago being
told by elders, which carried moral, ethics, customs, rituals, good and
evil practices somehow shaped each one’s character and rationality.
And information has been handed over generations in this way by
constituting different forms of folk media. World over aboriginal
people have been communicating and passing the cultural practices to
next generation through their folk media since time immemorial.
Also referred to as old traditional media, folk media is defined in a
simple term as, “the non-electronic medium, which works as part of
culture and as vehicles of transmitting tradition from one generation to
another”. Adesanoye (1990:53) defines that “these traditional media are
information transference media which are avenues of effective
communication with the rural dwellers in regard to areas which includes
the family, visitation, marriage, circumcision, feast, town and village
festival, market, town crier, talking drum, village square, temple, church
and mosque”.
The Indian heritage itself is a classic example of folk communication.
The history of communication shows that India has richest traditional
mode of communication among all countries of the world in ancient
time and folk media of India are still surviving in the era of cyber
communication in rural as well as urban India 1. No media have the
power to replace folk media because folk media is originated in the
environment of indigenous culture, belief and values. The oral tradition
of peasants in India is rich in its variety and content. It consists of
lyrical folk songs of numerous types. Ballads-heroic poems and
1
Neeru Prasad (2013). Folk Media: An active media for communication
campaigns in digital era. Global Media Journal-Indian Edition/ISSN
2249-5835. Winter issue/ December 2013/Vol.4
/No.2. epic lays, folk opera prose narrative such as Marchen, legends and
myths, proverbs and mnemonic formulae, riddles and a variety of magical
formulae and incantations. The elements of the oral tradition of folk
literature are closely related to specific sections of the structure and to
particular aspects of social life2.
According to Aderanti (1982:25), rural areas are remote sub-urban areas
and villages that are detached from the main stream of development due
to lack of access roads communication facilities and other basic
amenities. Rural areas are the grassroots areas, the suburbs, villages or
remote areas that need development. Development is the transformation
or change for the better in human cultural, socio-economic and political
conditions of the individuals and of the society. Moemeka (2000:94)
defines development as the steady movement or growth of society so
that it becomes more advanced and stronger in terms of economics,
politics, health, agriculture, social as well as other aspects of human
life. And communication is crucial for achieving desirable
development. For this both modern mass media and traditional folk
media have roles to play.
The history noted that social uses of folk media have been related to
pre-industrial societies in which cultural expression has been primarily
oral and essentially localized. Traditional performing arts are functional
and interpersonal, have a contextual base and would be able to carry the
message of change, development and growth. However, there have been
differing opinions in India on the wisdom of using mass media to
broadcast folk media for social and development purposes. Successful
publicity through folk arts depends on a happy synthesis of writing
skills at the script level and theater skills at the
performance level. (Aggarwal & Gupta, 2001).
Arunachal as a multi-culture state inhabits different tribes and each

of the tribe has its own traditional way of communication. B.B. Panday
(1994) in his book ‘Musical instruments of Arunachal Pradesh,’ states
that Arunachal Pradesh enjoys full autonomy in channelizing the
modes of life as ably as the climatic geographical condition. Any
instrument related to human service in his control is becoming more his
ends rather than his means. Musical instruments have multipurpose
function; it serves social, religious and cultural purposes.
In his book “Games of NEFA”, Marion D. Pugh (1958) states that
children learn a lot by imitation as childhood is a time when their
conscience develops and they begin to think in terms of the rules for
living and behaving towards people that their own society lays down.
Moreover, the choice of game gives an opportunity for many different
personalities to get a chance to express themselves and thus develop
better. Niranjan Sarkar (2010) in his book “Dances of Arunachal
Pradesh” defines dance in the stylized rhythmic movement of any or all
parts of the body to express some emotion, ideas or to narrate a story.
When a dance is accompanied by significant gestures and attempts the
narration of a series of events, it becomes a pantomime, which narrates
a mythical story or illustrates a moral.
Rabindranath Tagore once said, “A country is created by her people,
the country is not an inert mass soil, but is alive and conscious; if her
people can express themselves then only shall the country find
expression.” The true expression of the country is found in its rural folk.
We can learn about expressions of the people of the state through the
splendid diversity of their folk art, folk songs, folk music, and folk
dance (Tarapada Santra, 2011). But to disseminate information to a
large, heterogeneous and anonymous
audience simultaneously is better achieved through modern mass media

like radio, television, newspapers, magazine etc. Dominick (1983:23-
24) defines mass media as channels to carry the message, and
mechanical device that transmit and sometimes store the message (TV,
radio, camera, microphone, printing press, billboard etc) besides the
institution that use these machine to transmit messages to the audience.
Traditional media are the indigenous means of communication. The
traditional folk art forms are used for moral, religious, and socio-
political ends from the time they originated. But it is erroneous to
categorize them as only tools for pure amusement and merely outdated
forms of entertainment. They are alive and receptive to new ideas. In
this era of Information Age, new media are penetrating in every corner
of Arunachal Pradesh. However, the traditional forms of media maintain
its validity, particularly when used to influence attitude, instigate actions
and promote change. Extensive experience shows that traditional forms
of communication tools are effective in dispelling the superstitions,
archaic perceptions and unscientific attitudes that people have inherited
as part of tradition, and which are difficult to modify if the benefits of
change are hard to demonstrate. Perhaps, the traditional media used
subtle form of persuasion by presenting the required message in locally
popular artistic forms. This cannot be rivaled by any other means of
communication (Many Voices, One World)3.
To have better insights into the area of the proposed study, it is
pertinent to know the different folk media being practiced across
various regions in India. Some of the popular traditional folk genres
practiced to help communicate are: -
1.0 : Nyishi tribe
The Nyishi tribe is one of the principal inhabitants of Arunachal Pradesh

in north-eastern India. ‘Nyi’ means "a man" and the word ‘shi’ denotes
"a being", which collectively means a civilized human being. All Nyishi
are originally are believer of Donyi Polo (Sun and Moon God) however
Christianity and other religions have been adopted by many. They are
spread across six major districts and are also found in the Sonitpur and
North Lakhimpur districts of the neighboring state of Assam. Polygyny
is prevalent among the Nyishi. Nyishi community is concentrated in
districts namely Papum
Table 1.1: Types of Folk Media
• Traditional dance Art and crafts
Proverbs Chants
• Drama Games Gestures
Folk medicine Embroidery
• Puppetry designs Food recipes
Costumes
• Story telling Signs and symbols Jokes
Ceremony
• Paintings
• Sculpture
• Song
• Music
• Motifs and symbols
• Folktales
• Festivals
• Sign language
• Murals
Pare, Lower Subansiri, Upper Subansiri, East Kameng, Pakke Kessang,

Kra Dadi, Kamle and Kurung Kume districts. As such the area of the
study will be limited to Papumpare and some part of Lower Subansiri,
specially Ziro-II area which is Nyishi inhabitant area whereas Ziro-I
area inhabitant by Apatani tribe, covering urban as well as rural dueling
Nyishi-inhabited considering the importance, popularity, and use of
traditional media. The respondents will be drawn from different walks
of life, which include the farmers, craftsmen, folk artists, prominent
individuals, social activist, Gao Buras (village head), Panchayat
Members and priests.
1.1 : Bhuya as a medium for Communication
Bhuyan sonaam is a ceremonial dance of Nyishi tribe and it is very

popular among the community people. It is performed during auspicious
occasion and accordingly it has it significance. Different types of
Bhuya are; Nama Bhuya performed during opening of new house,
Nyeda Bhuya performed during the marriage mainly for merriment,
Maji Bhuya is similar to that of marriage bhuya only thing it is
performed when groom’s or buyer party visit to fetch a ‘Maji’, a
precious ornament (Tibetan tongue less bell) from bride’s house or a
ceremonial relative through exchange of valuable ornaments. And
Yullow Bhuya is performed during ‘YullowPanaam’ ceremony i.e. Most
sacred spiritualistic ritual of Nyishi community or in festivals like
Nyokum or Longte. The main difference among these bhuya dances is
the phrases that are sung while dancing. The dance movement is
almost similar except in Yullow bhuya where women do not
participate. The dance movement called is "Gumnam" where dancers
bend their legs at the knee and take a step towards right swaying their
hands and bring left leg beside its right.
The rationale behind selecting this form of folk media is that Bhuyafor
quasi experiment is a kind of dance of Nyishi tribe of Arunachal
Pradesh, where the messages or the context are created right away itself
during the event and according to occasion, making it a very flexible
form of communication media, where the dancer spontaneously can put
the words in a very creative manner, which also contains both vocal and
rhythmic body movement. In a Bhuya anybody can participate as
dancing member by holding hands, moving in a big circular form. The
first portion of the dance party sings the message and other half
completes the sentence or lines giving a meaning to it. Because of this
unique character of Bhuya it will be a good choice of medium to
experiment how effective and potential it has to use it by integrating
modern mass media such as digitalized audio form or video format with
Nyishi folk media for mass communication,moreover to act a vehicle to
carry contemporary developmental messages regarding social issues of
present context in the tribal region Arunachal Pradesh especially.
1.2 : Statement of the Problem
This study seeks to study the rationale behind the age-old traditional
practices of Nyishi folk media and their effectiveness towards rendering
information and messages to the Nyishi folks or in the region as whole.
Some of the key problems that are seeking a solution to fill the yawning
gaps in this study comprise as what are the Nyishi folk media that are
presently being practice, how popular they are among Nyishi populace
and how effective are as vehicles to carry contemporary developmental
messages, to find out whether modern mass media and other factors
have influenced any changes on the age-
old practices of Nyishi folk media? The convergence of modern mass

mediawith Nyishi folk media and test its feasibility and effectiveness in
renderingmessages. Moreover, will the community people like or accept
the idea of integrating their traditional culture with modern media? Is
convergence of Nyishi folk media with modern mass media is a way for
developmental communication as well as for documentation and
preservationof the traditional culture? These are the pivotal research
questions raised in this study.
All such questions are needed to be address to find and to give a
concrete statement to validate the research and its findings. Based on the
questions raised in the statement of the problem the researcher focused
down to the followingfour main objectives for the research.
1.3 : Objectives
1. To enumerate the folk media of the Nyishi tribe of

Arunachal Pradesh thereby exploring the factors that
influence any changes.
2. To study the attitude of respondents toward traditional
media while examining the rationale behind the
convergence of Nyishi folk media with the modern
media technologies.
3. To find out the effectiveness of selected Nyishi folk
media in carrying modern developmental message;
4. To evolve measures for proper documentation of the
Nyishi folk media facilitating their preservation and
circulation;
1.5.1 : Objectives of the quasi-experiment:
1. To assess general opinion of Nyishi community for

using and integrating contemporary social issues
messages through traditional Bhuya folk art of Nyishi
tribe.
2. To assess about the feasibility of the Bhuya song as a
medium to carry social messages for developmental
purpose.
3. To determine whether convergence of folk media with
mass media is appropriate for sustenance and
documentation of Bhuya.
1.4 : Hypothesis
The study is designed for exploratory research to understand the various

forms of folk media of the Nyishi community, and a quasi-experimental
design to assess the potential of the community’s Bhuya folk song in
using as a medium to disseminate modern developmental message. So,
no hypothesis is formulated for the exploratory part as exploration of the
folk media of the community and various aspects of their applicability is
significant at this level. Whereas for the quasi-experimental design part
one hypothesis has been formulated, that is:
Ho: Nyishi Bhuya folk song has not been effective in carrying modern
developmental messages to the community.
The findings of the study will help point out new problems and other
hypotheses for studies that might be conducted on related fields later on.
1.5 : Rationale of the Study
Nyishi society is passing through a process of transition from a

traditional to a modern way of life. And, the changing value
orientation of people presents an index of
this socio-cultural transformation process. Arunachal Pradesh being a

hilly state with difficult terrains, modern mass media seldom reach its
interior parts. Traditional media have been reinforcing the effect of
social norms, behavior and tradition way of life and rural development.
Nonetheless, there is an acute dearth of research work done in this area
of academic investigation. Moreover, no serious attempt has been made
to understand the potential of Nyishi folk media for using as a tool to
disseminate modern development messages to bring out development
particularly in the indigenous community. Exploration of this subject is
thus significant in the area. As such, the study has significance.
This study will be able to spell the rationale behind the utilization of the
existing Nyishi folk media tools for modern development
communication. The findings of the proposed study will throw light on
the effective uses of indigenous Nyishi folk media and on their
integration with modern mass media for effective information diffusion
besides helping conservation and preservation of the age-old
communication practices. It will help creating valuable insights in
sharing knowledge, tradition, culture and customs to contemporary
generation in documented formats. This study will also throw open the
avenues to understanding as to how traditional folk media reveal the
facts, ideas and thoughts of the rural masses and their presentation skills
in the notions of recreation, pleasure and entertainment. The findings of
the present study will be of use to professionals in the fields of media
studies, mass communication, development communication, sociology,
anthropology, social change, cultural studies and qualitative research
methodology thereby contributing to the existing knowledge body.
1.6 : Methodology
The proposed study is exploratory and analytical in nature. The primary

data will be collected through interview, participatory observation and
Interview schedule supplemented by focus group discussions. Interview
schedule will contain both closed- ended and open-ended questions and
will measure through Likert scales. Since the Nyishi-inhabited areas are
big in size and the scattering nature of their dwelling across Arunachal
Pradesh, a stratified random sampling method will be adopted for data
collection from Itanagar region under Papum Pare district and Ziro-II
area of Lower Subansiri district. Both parametric and non-parametric
statistics like frequency, percentage, mean and standard deviation will
be used for the study. Secondary data sources like the periodicals,
books, newspapers, journals, websites, and other available resources
from libraries, archives, seminars and conference proceedings will also
be reviewed for various information and data. Besides, unpublished data
from the relevant public and private domains will also be referred.
Besides, an experiment will be carried out with Bhuya, a folk art of
Nyishi which is generally comprised of both song and dance. It has both
vocal and rhythmic body movement where anybody can participate as
dancing member by holding hand, moving in a big circular form. The
first portion of the dance party sings the message and other half
completes the sentence or lines giving a meaning to it. The rationale
behind selecting this form of folk media is that Bhuya is a kind of song
and dance where the messages or the context are created on the spot
itself making it a very flexible form, where the lead vocalist can put the
words in a very spontaneous and creative manner. Because of this
unique character of Bhuya it will be a good choice of medium to
experiment how
effective and potential it has to use as a medium for mass

communication carrying contemporary messages in present contexts.
Messages depicting social messages on sanitation will be molded with
Bhuya, which will be presented before audience of both rural and urban
area in an audio format. Experiment will show as to how feasible and
effective is Bhuya in disseminating the messages, whether the message
was clear, well suited with the Bhuyasong and dance, entertaining, or
derogatory to tribal culture. For this, an audio advertisement of around
60 seconds each will be play before audience which will be in radio
Public Service Announcement (PSA) format. Then questions will be
asked about the message in particular. It will be done to find out their
view about their level of perception, how much they understood the
message, effectiveness and feasibility of the medium.
LITERATURE REVIEW
The media landscape has witnessed significant transformations in recent decades

Mangold and Faulds (2009), reflecting the dynamic nature of the media environment.
Folk media scholar Balwant (1966) says, "Folk media represents the people in their
living area with all their personal and social activities." The term "Folk Media"
encompasses the essence of "People's Performances," which includes folk dances,
rural dramas, and various musical traditions of rural communities. These art forms
symbolize the cultural significance deeply rooted in the heritage of these
communities. Specific communication channels and forms within these cultural
expressions have historical origins and have been faithfully passed down through
generations, often referred to as Indigenous or Traditional Folk Media. In various
forms, Folk Media fulfills diverse social needs within communities (Gogoi, Ansari,
Saikia, Baruah, & Yadav, 2022).
The terms "media influence" and "media effects" are used in the study of subjects,
including media studies, psychology, communication theory, and sociology, to refer
to ideas that explain how and why individuals react to various types of popular
culture. "Media effects" refers to the mental and behavioral shifts that audiences
experience due to exposure to various forms of media. The impact of the media is a
focal point of research in mass communication (Perloff, 2013). The function of mass
media and the field's successes have been the subject of research for quite some time.
Only some attempts have been made to harness traditional forms of urban
communication, such as puppetry, poetry, street drama, and folk songs. Folk media is
essential to cultural development because of the lack of censorship and the rapidity
with which people can express feedback. Conventional and traditional media
engaged with one another during the uprisings in Tunisia, Egypt, and Yemen
(AlSayyad & Guvenc, 2015).
In international research, mainstream media has been identified as the primary

medium for educating on various aspects of African social life. The effectiveness of
folk media in bringing about positive changes in social and reproductive health
behaviors in rural Africa is widely acknowledged. In rural African contexts, such as
the one described in Ghana, many communication forms exist, including songs,
proverbs, storytelling, drumming and dance, drama, poetry recital, and arts and
crafts. These mediums serve diverse purposes, including entertainment, rituals,
education, and religious observances and practices (Owusu-Frempong, 2005;
Panford, Nyaney, Amoah, & Aidoo, 2001). Moreover, there is considerable potential
3318
for incorporating folk media into contemporary communication, education, and
behavior modification frameworks. Folk media serves as a multifaceted conduit for
transmitting traditions, norms, values, beliefs, and generational experiences within
cohesive societies, preserving these elements without commercial motives (Panford
et al., 2001). Folk media is pivotal in fortifying rural communities' cultural,
traditional, and social fabric, safeguarding essential elements such as beliefs, ethos,
attitudes, and social structures (Gogoi et al., 2022; H. Kumar, 2006). Additionally,
the structured character of poetry, with features like repetition and rhyme, aids in
Pakistan Journal of Humanities and Social Sciences, 11(3), 2023
memorizing religious incantations, precepts, and prophesies, reinforcing the close

association between poetry and religion (Höivik & Luger, 2009).
Many Africans may benefit from familiarizing themselves with modern

communication interventions, such as participatory rural evaluation and the use of
mass media. However, folk media can be preferable for theory-driven
communication interventions (Iyyanar, 2020; Panford et al., 2001). Folk media is
crucial in reaching the uneducated and illiterate population, offering forms like folk
dance, rural drama, and music (Manuel, 1988). These traditional media forms,
originating in rural areas, remain dynamic and adaptable. Responsive cultural media
primarily benefits the rural population of South Asia (Mathiyazhagan, Kaur,
Ravindhar, & Devrani, 2015). In South Asia, folk media in India emerged as a potent
tool for promoting awareness of Sustainable Development Goals (SDGs) and
instigating action among urban and rural populations. Folk media excels over
impersonal mass media by delivering messages in a relatable manner, fostering a
socio-psychological perspective that enhances awareness(Shaika et al., 2021).
Adjacent to Pakistan, in India, effective communication networks are crucial
(Carreira & Kagan, 2018). Indian folk theatre is vital in disseminating knowledge
and contributing to the nation's progress (Narayan, 1993). Traditional Indian music
and dance, spanning various genres and forms, including vocal and physical
performances, pantomime, epic song recitations, religious rituals, and country
festivals, mirror the community's social structures, rituals, and beliefs (Gogoi et al.,
2022). Access to the arts is vital for cultural development, and traditional media,
often referred to as "audio-visual media," effectively engages audiences through both
sight and sound, capturing interest and involvement (Mathiyazhagan et al., 2015).
In the case of Pakistan in the South Asian region, poetry has historically been a
means of preserving and expressing oral history, storytelling, genealogy, law, and
other forms of knowledge, even before literacy development (Höivik & Luger,
2009). Folk media's role in preserving cultural essence across generations and
contributing to nation-building. It has led civil society and development
3318
organizations in various parts of South Asia and Africa to increasingly employ folk
media for awareness-raising and development efforts. Furthermore, Yasir Waseem
(2017) highlight urban residents' adaptability to various media forms, making it a
valuable tool for disseminating information and facilitating behavior change in urban
populations As an exploratory endeavor, this study examines the recent upsurge in
the popularity of folk media within metropolitan settings such as Lahore. It aims to
uncover the role of folk media in facilitating the expansion of interdisciplinary media
adaptation. Folk media, rooted in time-tested methods, coexists alongside the
trending mainstream media to disseminate news (Iftikhar, 2019). Through a
comprehensive exploration of the viewpoints held by professionals in journalism and
communication in Pakistan, this research delves into how folk media shapes the
social behaviors of urban populations. In the context of the existing literature, this
study brings attention to a notable research gap by redirecting its focus toward the
intricate dynamics of urban society. This area has received relatively less scholarly
scrutiny when compared to the extensive research dedicated to rural contexts.
3318
Research Questions
1. How does media coverage influence the transmission and preservation of
traditional folk practices and rituals in contemporary societies?
2. What are the effects of globalization on folk culture, particularly regarding its
representation and dissemination through various media platforms?
3. To what extent does media exposure contribute to the revitalization or
commodification of folk traditions, and how does this impact the authenticity
and integrity of the cultural practices?
4. How do different forms of media (e.g., television, social media, print media)
shape public perceptions and understanding of folk culture, and what are the
implications for cultural identity and heritage preservation?
5. What role does media representation play in the negotiation of power dynamics
within folk communities, and how does it influence issues of cultural
ownership, authenticity, and representation?
1. Methodology
Qualitative methods capture this complex phenomenon's nuanced and subjective
aspects, ensuring a holistic understanding of the subject matter (Clark, Foster, Bryman, &
Sloan, 2021). This research employs a qualitative methodology, specifically one-on-
one interviews, to gain a profound understanding of expected social behavior within
urban communities. The choice of in-depth interviews is rooted in their ability to
uncover participants' lived experiences, facilitating a comprehensive analysis of the
research questions. Through these interviews, the study aims to explore participants'
perspectives, experiences, and critical viewpoints, offering a holistic understanding
of the intricate dynamics of urban social behavior influenced by folk media.
The selection of participants in this study was a meticulous process guided by

purposeful sampling criteria. Participants were carefully chosen based on their roles
as active journalists and academicians who could critically assess emerging and
established media platforms. Additionally, their affiliations with renowned
universities, where they had exposure to fieldwork and interaction with students,
added a valuable dimension to the study. Four of the five communication experts
interviewed also held positions as visiting faculty members. This composition
provided a well-rounded and representative sample that seamlessly blended practical
field experience with academic expertise throughout the research process. The
interviews were conducted in Lahore throughout June 2020, involving as many as
five journalists. All interviews, lasting an average of two hours, were conducted in
English and Urdu. This temporal anchoring aimed to ensure a focused and
contextually relevant perspective on the subject matter, contributing to the depth and
richness of the study's findings.
Table 1: General Information about Respondents (Journalists)

Names Organizations Areas of Specialization
Najam Wali Khan Lahore Rang Daily Anchor
Pakistan Columnist
Salman Abid Daily Express Senior Journalist/Visiting Faculty
Saif ul Azam Khan Express Group Senior Journalist/ Visiting Faculty
Wajahat Kazmi Samaa TV News Producer Content Editor
Urwah Iftikhar Lahore College for Women University Faculty Mass Communication
In this study endeavor, a series of in-depth interviews was conducted with carefully
selected respondents, with each interview spanning approximately two hours. In
order to facilitate effective communication, these interviews were conducted in both
English and Urdu languages. The first interviewee, Mr. Najam Wali Khan,
participated in the interview on June 6, 2020, commencing at 9:00 a.m. and
concluding at 11:00 a.m. The timing of these interview sessions was thoughtfully
arranged to align with the convenience of the participants, with the primary aim of
optimizing productivity and precision in the resultant data. Throughout these
sessions, participants posed a multitude of inquiries, and their responses were
meticulously captured using a voice recorder. Subsequently, the most pertinent and
significant points from these discussions were transcribed manually.
The second interview, featuring Mr. Salman Abid, was scheduled for June 11, 2020,
taking place between 1:00 p.m. and 3:00 p.m. This interview, much like the
preceding one, was thoughtfully structured to enhance productivity and precision
further. This approach entailed a series of probing inquiries presented by the
participants, and their responses were meticulously documented using a voice
recorder. The key insights and noteworthy findings that emerged from this dialogue
were transcribed by hand. The third participant, Mr. Saif ul Azam Khan, engaged in
an interview on June 11, 2020, occurring between 5:00 p.m. and 7:00 p.m. The
interview methodology maintained the same focus on productivity and precision,
with the participants actively participating in the inquiry sessions. Their responses
were conscientiously captured through the use of a voice recorder, and subsequently,
the most significant and relevant points were transcribed manually. The interviews
with the fourth and fifth participants were slated for June 13, 2020. The fourth
participant's interview was set for 9:00 a.m. to 11:00 a.m., while the fifth participant's
interview occurred between 4:00 p.m. and 6:00 p.m. In both cases, productive
discussions were facilitated to ensure precise results. Participants continued to pose
inquiries, and their responses were captured through voice recordings, with
subsequent manual transcription of critical points.
2. Analysis and Interpretation of Data

It deals with the analysis and interpretation of data. Interviews are used to collect
data. Most respondents are senior professional journalists who have a keen
understanding of media ethics and can better shed light on the use of folk media in
urban cities.
2.1. Folk Media for Rural Development

In response to the utilization of folk media for rural development, the first
participant, Najam Wali Khan, emphasized that folk media encompasses various
forms, such as stage performances, dramas, theatre, and performing arts. He
pointed out the distinction between
two types of folk media, one catering to the upper class, which can be expensive and
inaccessible, and the other involving cultural fairs, festivals like Mela and Urus, and
street performances. However, he noted that these traditional forms of folk media may
be less effective in a society dominated by the influence of social media. The second
participant, Salman Abid, expanded on the idea that folk media is not limited to rural
areas but is also prevalent in urban society. He described folk media as representing
diverse cultures through music, stage dramas, and theatre, showcasing the traditions
of different regions. Saif ul Azam Khan, the third participant, emphasized that folk
media encapsulates various aspects of culture, including sounds, music, dramas, and
theatre, acting as a preserver of cultural heritage. The fourth participant, Wajahat
Kazmi, underscored the traditional aspect of folk media, primarily associated with
rural development. He highlighted its role in preserving heritage, whether in the form
of poetry, music, drama, or dance, passed down through generations. Ms.Urwah
Iftikhar, the fifth participant, acknowledged that folk media plays a vital role in rural
development due to its close alignment with the cultural heritage of these areas. In
regions with lower literacy rates, traditions, norms, and values remain integral,
making folk media an effective communication medium. It is exceptionally versatile,
allowing for various forms of folk media tailored to specific communities. People
tend to resonate more with messages rooted in their culture. Folk media contributes
to achieving rural development goals, including health, agriculture, employment, and
women's development.
In alignment with these perspectives, folk media serves as a means of

communication deeply intertwined with culture, encompassing various mediums
such as theatre, puppetry, fairs, group communication in mosques, and festivals.
Traditional folk media acts as an indigenous counterpart to external mass media,
facilitating socio-economic change and progress in tribal societies by effectively
conveying messages of development (Mishra & Newme, 2015).
Table 2: Journalists' Comments about the use of Folk Media in Urban Society
Blocks Main Quotes % of Total Mentions
Folk media for rural It is a very effective way to disseminate information among the 95%
development rural population through folk media.
Folk media and urban Folk media can influence rural people more as compared to 92%
community urban people.
Emergence of folk media in the In the world of technology and social media, it is challenging 75%
era of Information and for folk media to attract people
Technology
Social ills in urban society Folk media is a medium that effectively addresses social 80%
problems and is easily understandable in
rural communities.
Change in the social It would be difficult to create social change in urban 60%
behavior of the urban societies with the help of folk media.
community.
Development of urban Folk media can be a helpful source for urban people to 77%
society develop a society.
Effective communication model The use of effective communication strategies would be 84%
helpful to persuade and attract people to the consumption of
folk media.
Separation of folk media from It can change behavior by preserving and transferring our 66%
folk culture cultural norms and traditions to
generations.
Change through The entertainment of folk media can affect people 81%
entertainment in urban society if they are used smartly with a combination
of technology.
Amalgamation of folk The merger of modern gadgets is beneficial for urban society. 91%
media and contemporary
media
2.2. Folk Media and Urban Community

The participants ' perspectives varied regarding using folk media in urban areas. The
first participant noted that folk media's influence on the population of Lahore city is
relatively limited. Folk media predominantly thrives in rural areas or locations
outside Lahore, considered community-based media. This discrepancy is attributed
to individuals, particularly the youth in Lahore, needing more time to readily connect
with folk media forms such as stage dramas, puppetry, and theatre. Consequently, the
influence of folk media within Lahore city is generally
diminished. However, exceptions, such as religious events like 'Data Sahab Ka Urs,'
temporarily impact the populace. The participant emphasized that the influence of
folk media is mainly contingent on demographics, with its prominence increasing as
one moves beyond the boundaries of Lahore, which aligns with previous findings
(AlSayyad & Guvenc, 2015). The second participant echoed similar sentiments,
asserting that folk media mediums exert relatively limited influence in urban cities like
Lahore. While music remains popular, folk theatre is rare in Lahore, with occasional
theatrical representations, such as at Al-Hamrra Hall. Music, particularly in the form
of Qawali Nights and Folk Tappay, holds a more prominent position in urban areas
like Lahore. The third participant suggested that folk media mediums do have some
degree of influence on people, particularly within Lahore city. Music and drama are
cited as having more substantial impacts, as people dedicate significant time to these
forms of entertainment, leading to the automatic influence of behavior. In contrast,
the fourth participant contended that mediums of folk media, such as poetry, songs,
and drama, exert significant influence, especially in urban cities like Lahore. Many
individuals interpret the ideology and deeper meanings conveyed by folk media as
similar to previous findings (Yasir Waseem, 2017). The fifth participant emphasized
that folk media influences urban residents, citing an example from the Dengue
Campaign during Shahbaz Sharif's government in 2011 (Iftikhar, 2019). In street
theatre, folk media was organized in Lahore city and Gujranwala to raise awareness
and educate the public about necessary precautions, which people should have taken
seriously.
Folk media effectively conveyed the message, prompting people to take action and
yielding positive results regarding Dengue prevention. Folk media, therefore, serves
as a potent tool for urban societies, and its effectiveness depends on the specific
target community. The participant highlighted the revival of theatre across various
social classes, each reflecting its unique cultural and heritage aspects. The example
of the Dartchee campaign was cited as a successful initiative. Despite potential
limitations due to COVID-19, organizing small-scale events at schools and colleges
can still facilitate effective communication and help achieve communication goals.
2.3. Media in the Era of Information and Technology

The first participant discussed the evolving relationship between folk media and
information technology, highlighting ongoing experiments (Iyyanar, 2020). Many
artists engage in such experiments, and when society responds positively to these
endeavors and integrates both mediums, the impact on the behavior of urban
residents can be substantial. Examples like the music of Rahat Fateh Ali Khan and
Nusrat Fateh Ali Khan illustrate how folk traditions can influence urban behavior, as
people readily embrace and accept such adaptations. The second participant observed
that folk media undergoes transformation and adaptation in response to conventional
media. While folk traditions from the 1960s and 1970s differed significantly,
contemporary folk media has evolved to incorporate elements from the cultural
world and even English vocabulary. Traditional attire now integrates modern
influences, aligning with various forms of conventional media that have become
integral to society, supporting previous notions by (Mangold & Faulds, 2009). The
third participant emphasized the symbiotic relationship between folk media, culture,
and conventional media, particularly technology-driven modernism. The fusion of
technology and culture offers significant societal benefits, enhancing the
effectiveness of message dissemination. Conventional mass media, such as
newspapers, television, and information technology-driven platforms, are crucial in
informing the public through news, talk shows, debates, discussions, and
entertainment programs. The fourth participant contended that folk media, in its
distinctive form, starkly contrasts conventional media. The advantages of folk media
lie in its ability to address various societal facets and meaningfully represent social
issues through mediums like songs, poetry, and drama. In the words of the fifth
participant, folk media finds substantial support in the era of information and
technology due to its live nature. The source communicates directly with the
audience in this medium, leading to immediate feedback. Folk media eliminates the
need for screens or intermediaries, fostering high emotional involvement. Folk media
can serve as a powerful tool for community communication by seamlessly
integrating with new media like the Internet or television (Perloff, 2013). Live
broadcasting of folk media extends the reach of messages to national and
international audiences, transcending physical boundaries and enhancing
understanding among viewers.
2.4. Social Ills in Urban Society

The first participant emphasized how folk media bridges culture, traditions, and
religion, instilling messages of love, goodness, and prosperity. Compared to
conventional media, folk media fosters a connection between individuals and the rich
traditions of their ancestors, drawing them closer to Allah Almighty while steering
them away from societal ills. The second participant contended that folk media plays
a significant role in addressing social issues within urban society. Through
mediums like music, dramas, theatre, and puppetry, folk media effectively
portrays short performances highlighting prevalent social ills. For example, Uncle
Sargam's puppetry performances raise awareness about substance abuse, resulting in
positive changes in people's behavior. The third participant noted that folk media
addresses the social ills of society through dramatic presentations, shedding light on
pressing issues. An illustrative example is the portrayal of the Zainab Murder case in
on-stage dramas, contributing to awareness and action against child abuse. The
fourth participant stressed the enduring relevance of folk media's meaningful
messages in addressing the issues of urban society, emphasizing our shared human
connection and the depth of its impact. The fifth participant concurred that folk
media effectively tackles societal ills through various mediums. For instance, Uncle
Sargam's productions, including "Nasha Awareness" and "Kaliyan," are potent
vehicles for addressing societal social issues. These findings are partially aligned by
(Das, 2013; Gupta, 2015; Liu et al., 2011).
2.5. Development of Urban Society

The participants in the discussion shared their insights regarding the impact of folk
media on urban social behavior. The first participant emphasized the potential of
blending tradition and technology to present cultural elements through modern media
channels. They cited examples like Coke Studio to illustrate how this fusion can
positively influence urban behavior. The second participant highlighted the
importance of folk media addressing societal issues and creating awareness to
substantially impact urban behavior, mainly through its ability to evoke emotions
using various art forms. The third participant stressed how folk media strengthens
cultural traditions and values, leading to changes in individual behavior. The fourth
participant noted that despite the differences between urban and rural lifestyles, folk
media, with its soothing music and arts, can resonate with urban dwellers and convey
meaningful messages. Lastly, the fifth participant recognized that folk media often
targets specific communities, contributing to improved social behavior by fostering
diverse interactions within urban settings. Conversely, the fifth participant strongly
advocated for the significance of folk media in urban societal development,
emphasizing its deep-rooted cultural connections and the positive messages it
conveys, ultimately leading to individual and societal transformation.
2.6. A Model for Efficient Communication

The effectiveness of folk media as a communication model for urban society
garnered diverse perspectives from the participants. While the first participant
acknowledged its potential for conveying messages, concerns were raised regarding
its sustainability in the context of a fast-paced, technology-driven modern lifestyle.
In contrast, the second participant believed that folk media could thrive by adapting
to contemporary circumstances, embracing technology, and preserving its traditional
essence. The third participant viewed folk media as an effective tool, citing its
freedom from censorship and its capacity for immediate, unfiltered feedback, which
facilitates direct and impactful communication. On the other hand, the fourth and
fifth participants staunchly endorsed the effectiveness of folk media, with one
highlighting the captivating abilities of rural artists and the other emphasizing the
value of its direct communication channels and immediate feedback mechanisms for
societal enhancement.
2.7. Differentiating Folk Media and Folk Culture

In a remarkable display of diversity in perspectives, the participants articulated a
complex relationship between folk media and folk culture, particularly regarding
their influence on urban society's behavior and the preservation of cultural norms.
For the first participant, folk media served as a powerful conduit for the timeless
transmission of cultural values across generations. In contrast, the second participant
approached the topic with a hint of skepticism, suggesting that while folk media does
reflect culture, it may not inherently drive societal change without adaptation. The
third participant underscored the profound connection between folk media and
culture, particularly in the context of technological advancements and societal
progress. The fourth participant eloquently described folk media as a visual
embodiment of cultural heritage, reviving forgotten values in urban society.
Finally, the fifth participant
emphasized the crucial link between folk media and culture, highlighting its
effectiveness in message conveyance through alignment with cultural values, thus
amplifying their impact on the urban audience.
2.8. Change through Entertainment

Participants unanimously acknowledged the potential of folk media to drive change
and development in urban society through a combination of entertainment and
meaningful content. They highlighted the transformative power of purposeful
messages paired with entertainment, emphasizing the role of folk media in fostering
positive societal change. Additionally, they noted the enduring relevance of folk
media in urban settings. They cited examples where it has influenced people and
contributed to societal progress, such as the Dengue Campaign Iftikhar (2019) pp.
57-58 and Uncle Sargam's puppetry on “Nasha” Awareness.
2.9. Amalgamation of Folk Media and Contemporary Media

Participants agreed on the potential of merging folk media with mainstream media,
especially for influencing urban society's behavior. This fusion is seen as a way to
present old traditions in contemporary and digital formats, generating a positive
response. They emphasized the importance of high-quality content for successfully
integrating conventional and folk media. Overall, they viewed connecting traditional
folk media with mainstream media as experimenting with the potential for positive
societal outcomes and sustained urban interest in folk culture. This integration was
recognized for its advantages, offering the consumption of folk content through
established media channels.
RESEARCH METHODOLOGY
3.1 Introduction
This chapter presents the research design that was used to meet
the objectives of the studies as set out in chapter one. Included here
are the type of survey, population of interest, data collection and
analysis techniques.
3.2 Research Design

A cross-sectional survey research design was used in this study.
The choice was necessitated by the nature of data to be collected,
which was cross sectional. Cooper and Emory (1985) contend that
the surveys are more efficient and economical than observations.
It also allows for comparative analysis in order to obtain rational
conclusions. The census survey was considered most appropriate for
this study since the population of interest was small. In a census
survey, all elements in the population are studied which enhances
the confidence of the research findings.
Descriptive studies are concerned with finding out who what, where,
when or how much of a phenomena (cooper and schindler 2003). This
particular research design was thus suitable for this research. This
research design has also been successfully used by Lekolool
(2010), Khabala (2009) and Njoroge (2006) in carrying out similar
studies in Kenya
3.3 The study Population
The population census of interest for this study comprised of all the
100
3.4 Data Collection
The study used primary data. The primary data was collected by use
of a semi-structured questionnaire containing both open-ended and
closed questions. The questionnaire was used to guide the personal
interview and where not possible it was self administered. The
personal interview stimulates the respondents therefore permitting
for greater flexibility and provides an opportunity for probing. This
concurs with Cooper and Emory (1985) who state that the greatest
value of personal interviews lies in the depth and detail of information
that can be secured.
The questionnaire targeted Marketing Managers or Commercial

Managers within the organization since the responsibility of strategy
implementation is vested at their level. The questionnaire was
delivered to the respondents through direct mail service, electronically
transmitted or drop and pick later approach.
3.5 Data Analysis
Due to the cross sectional and descriptive nature of data that was
collected, the study used descriptive statistical tools of analysis.
These descriptive statistics comprise frequencies mean scores,
standard deviations and percentages.
To find out the challenges of competition faced and competitive

strategies used by the firms, cluster analysis was used. This entailed
organizing variables and their relationships in measuring the
extent to which they were related in describing a particular
challenge faced and a competitive strategy used. Previous studies
carried out by Lekolool (2010) Nyatichi (2009) and Mwangi
(2008) have successfully used this technique.
What is your age group?
SOURCE NO. OF RESPONDENTS VALID PERCENT

a) 18-25 23 23%
b) 26-35 33 33%
c) 36-50 44 44%
TOTAL 100 100%
How often do you engage in traditional folk activities?

a) Daily 21 21%
b) Weekly 12 12%
c) Monthly 18 18%
d) Rarely or Never 49 49%
TOTAL 100 100%
Which form of media do you rely on the most for information about folk
culture?

a) Television 21 21%
b) Radio 31 31%
c) Internet (websites, social 18 18%
media)
d) Print media 30 30%
(newspapers, magazines)
TOTAL 100 100%
Have you ever participated in a folk festival or event?

a) Yes, regularly 31 31%
b) Yes, occasionally 15 15%
c) No, but I'm interested 19 19%
d) No, not interested 35 35%
TOTAL 100 100%
How do you think media coverage influences the preservation of folk culture?

a) Significantly 29 29%
b) Moderately 17 17%
c) Minimally 16 16%
d) Not at all 38 38%
TOTAL 100 100%
Would you prefer traditional folk music or modern music influenced by folk
elements?

a) Traditional folk music 41 41%
b) Modern music with folk 17 17%
elements
c) Both equally 12 12%
d) Neither 30 30%
TOTAL 100 100%
How do you feel about the commercialization of folk culture?

a) It helps promote and 31 31%
sustain traditions.
b) It can sometimes distort 12 125
the authenticity of
traditions.
c) I have mixed feelings. 19 19%
d) I'm not sure. 38 38%
TOTAL 100 100%
Do you think media coverage adequately represents the diversity of folk
cultures?

a) Yes 41 41%
b) No 10 10%
c) Somewhat 7 7%
d) I'm not sure 48 48%
TOTAL 100 100%
Which aspect of folk culture do you find most appealing?

a) Music and dance 31 31%
b) Crafts and art 17 17%
c) Traditional clothing and 18 18%
attire
d) Folklore and storytelling 34 34%
TOTAL 100 100%
How do you think social media has impacted the transmission of folk
traditions?

a) It has helped spread 41 41%
awareness and
participation.
b) It has led to the dilution 10 10%
of traditional practices.
c) It hasn't had much 7 7%
impact.
TOTAL 100 100%
Would you be interested in learning more about folk culture through
educational programs or workshops?

a) Yes, definitely 31 31%
b) Maybe, if it's convenient 12 12%
c) Not really interested 18 18%
d) No, not at all 39 39%
TOTAL 100 100%
In your opinion, what role should governments play in preserving and

promoting folk culture?
a) Actively support cultural 31 31%
preservation initiatives
b) Provide funding for 18 18%
cultural events and
organizations
c) Leave it to communities 11 11%
and individuals to preserve
their own traditions
TOTAL 100 100%
How do you think globalization has affected traditional folk cultures?

a) It has led to the erosion 31 31%
of traditional practices.
b) It has facilitated cultural 16 16%
exchange and adaptation.
c) It hasn't had much 11 11%
impact.
TOTAL 100 100%
What motivates you to engage with folk culture?

a) Cultural heritage and 37 37%
identity
b) Personal interest and 16 16%
enjoyment
c) Social connections and 11 11%
community involvement
d) Other 36 36
TOTAL 100 100%
Do you think there should be more media coverage of folk culture?

a) Yes 31 31%
b) No 11 11%
c) Maybe, if done 7 7%
responsibly
TOTAL 100 100%
CONCLUSION
In conclusion, the pervasive influence of television advertising on society
is profound and multifaceted, shaping consumer behavior, cultural
perceptions, and societal norms in significant ways. Through an extensive
exploration of the literature, it becomes evident that television advertising
serves as a powerful force that extends beyond mere promotion of
products and services to influence various aspects of our lives.
One of the most striking effects of television advertising is its impact on
consumer behavior. Television commercials employ sophisticated
techniques to capture audience attention and persuade individuals to
make purchasing decisions often driven by desires instilled through
carefully crafted messages. The imagery, language, and narratives
employed in advertisements create aspirational ideals, portraying
lifestyles associated with the advertised goods and fostering a sense of
desire or FOMO (fear of missing out) among viewers. As a result,
television advertising plays a pivotal role in driving consumerism and
materialism, encouraging individuals to seek fulfillment through the
acquisition of goods and services.
Moreover, television advertising contributes to the perpetuation of
cultural perceptions and societal norms through its portrayal of gender
roles, racial stereotypes, and societal values. Advertisements often reflect
and reinforce existing stereotypes, presenting idealized images of beauty,
success, and happiness that can influence individual attitudes and
behaviors. Gendered advertising, in particular, frequently depicts women
in stereotypical roles or as objects of desire, while men are portrayed as
strong and assertive. Such representations not only shape cultural
perceptions but also contribute to the perpetuation of gender inequality
and discrimination in society.
The impact of television advertising extends beyond adults to children
and adolescents, who are particularly vulnerable to marketing messages.
Advertisements targeting young audiences often employ techniques such
as animation, humor, and celebrity endorsements to capture attention and
promote products. These ads can influence children's preferences, dietary
choices, and purchasing requests, contributing to the rise of childhood
obesity and consumerism. Furthermore, exposure to unrealistic beauty
standards and materialistic values in advertising can negatively impact
children's self-esteem and well-being, fostering feelings of inadequacy
and insecurity.
Despite regulatory efforts to protect vulnerable populations, such as
children, from the potential negative effects of television advertising,
challenges persist. The relentless pursuit of profit through advertising can
lead to ethical dilemmas and social consequences, such as the promotion
of harmful products or deceptive marketing practices. Moreover, the
dominance of advertising in media channels can compromise editorial
independence and journalistic integrity, shaping public discourse and
influencing political agendas.
While television advertising undoubtedly contributes to economic growth
and employment by stimulating demand for goods and services, it also
raises questions about its social and environmental costs. The promotion
of overconsumption and materialism through advertising can contribute
to environmental degradation and resource depletion, exacerbating issues
such as climate change and pollution
3. Results and Discussions
According to the given interpretation, Folk media, deeply rooted in tradition and
culture, has a significant presence in rural and urban settings,
Table 3: Data Analysis and Interpretation

Respondent Common Quotes Un-Common Quotes Feedback
Najam Wali Khan It is a source to present our culture There are two types of folk Folk media is our culture.
and norms, and emergence is an media: one for the upper Today, urban people leave
experiment to give a positive class and the other is local their traditions. So folk media
response. It preserves and transfers media. People may not be have to work for it.
cultural norms. comfortable to attach with it.
Entertainment with fruitful
messages brings development.
Salman Abid It is community media. If it makes Folk media do not make Folk media should raise its
an awareness message about issues, massive space in society; standard in urban society by
it will significantly influence they try to make feelings. emergence.
behaviors.
Ali Salman Alvi Folk media is music, theatre, and In a cultural context, folk Folk media needs
drama. Music and drama are two media do not bring modification, which occurs
mediums that influence development in society. when its layout is transformed.
urban people.
Wajahat Kazmi It is poetry, drama, and music that Urban society Folk media can be very
preserves our cultural heritage. The detaches from the basic effective if it deals with
calm and peaceful crafted music meaning of life, and folk technical communication.
and drama soothe media bridge that gap.
the urban people.
Urwah Iftikhar Folk media is community media of Folk media play a role in
geographical community. social behaviors if it works
Emergence is very much supportive according to demographics.
of the popularity of it because it is
live. Folk media always target
small
communities.
maintaining its relevance in today's fast-paced urban life. Merging modern

technology with folk media can yield positive results, emphasizing the importance of
content quality.
Connecting folk media with mainstream platforms helps sustain interest in folk
culture, preserving cultural heritage while engaging urban society with relevant and
engaging entertainment content, aligning with urban life's organized nature, and
fostering appreciation for tradition (Hussain). The social behavior of urban people is
very organized, and life is like a train, but the purpose of life is the same for
everyone. Folk media can bridge this gap. It is a representation of our culture that
closely connects to the grassroots. The entertainment content of folk media is still
mainly relevant to the interests of people in urban society.
4. Conclusions
Concluded from extensive conversations with experienced Lahore-based journalists,
it becomes clear that Folk media challenges the notion that it is only relevant in rural
areas, emphasizing its broader importance in various contexts beyond just rural
settings. Instead, a deeper appreciation arises for the significant role it plays within
the intricate urban landscape of Pakistan. Folk media, steeped in centuries of
tradition, possesses an inherent potential to seamlessly collaborate with mass media,
facilitating the dissemination of crucial urban awareness and delicately influencing
the behavioral patterns of urban dwellers. It is the intrinsic attributes of accessibility,
directness, and emancipation from the confines of censorship that equip folk media
with the unique ability to deftly address the multifaceted challenges woven into the
tapestry of urban society. Furthermore, the research introduces the novel concept of
media inter-adaptation, which has garnered notable enthusiasm. This avant-garde
approach promises to unleash transformative shifts in urban behaviors, charting a
holistic course toward comprehensive societal development. Folk media, aside from
its role as a guardian of cultural heritage, emerges as an exceptional platform for the
conveyance of messages enriched with values that wield the potential to evoke
profound shifts in behavior. This distinctive role, often posing a conundrum for mass
media in isolation, underscores the pragmatic mandate of harmonizing these two
distinct media paradigms, harnessing their combined strength to advance societal
well-being and usher in enduring currents of social change.
4.1. Implications of the Study

1. The adaptability of folk media in urban contexts highlights its potential to
bridge cultural gaps and promote positive behavior change.
2. Collaboration between folk and mass media can be a robust societal
development and cultural preservation tool.
3. The findings of this research can inform policies and initiatives aimed at
promoting media diversity and preserving cultural heritage.
4. Media inter-adaptation strategies can be used to convey messages and
influence urban behavior positively and effectively.
5. A deeper understanding of the role of folk media in urban settings can
enhance urban development efforts and cultural appreciation.
4.2. Limitations
1. The study primarily focused on Lahore, limiting the generalizability of
findings to other urban areas in Pakistan.
2. The sample predominantly consisted of journalists, potentially introducing
a bias towards media professionals' perspectives.
3. The qualitative nature of the research may not allow for quantifiable
measurements of the impact of folk media on urban behavior.
4. Individual participant biases and subjectivity in responses may have
influenced the study's findings.
5. External factors such as technological advancements can impact the
relevance of folk media in urban contexts.
4.3. Future Recommendations

1. Future research will investigate the effectiveness of merging modern
technology with folk media in urban settings, focusing on content quality
and its anticipated impact on urban behavior.
2. Studies will explore the potential of connecting folk media with

mainstream platforms to sustain interest in folk culture, preserve heritage,
and engage urban society with relevant entertainment content.
3. Researchers can be able to examine folk media's role in addressing urban
social and health issues like smog through music and theater, assessing its
anticipated effectiveness in conveying messages and driving behavioral
change.
4. Future investigations will analyze folk media's influence on the urban
fashion industry, including its impact on trends and anticipated consumer
choices, to understand its cultural significance in urban life.
5. Ongoing research will further explore the benefits of inter-adaptation,
integrating folk media with mainstream channels, for anticipated positive
changes in urban behavior and broader societal development.
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What is your age group?

a) 18-25
b) 26-35
c) 36-50
d) 51 and above
How often do you engage in traditional folk activities?
a) Daily
b) Weekly
c) Monthly
d) Rarely or Never
Which form of media do you rely on the most for information about folk
culture?
a) Television
b) Radio
c) Internet (websites, social media)
d) Print media (newspapers, magazines)
Have you ever participated in a folk festival or event?
a) Yes, regularly
b) Yes, occasionally
c) No, but I'm interested
d) No, not interested
How do you think media coverage influences the preservation of folk culture?
a) Significantly
b) Moderately
c) Minimally
d) Not at all
Would you prefer traditional folk music or modern music influenced by folk
elements?
a) Traditional folk music
b) Modern music with folk elements
c) Both equally
d) Neither
How do you feel about the commercialization of folk culture?
a) It helps promote and sustain traditions.
b) It can sometimes distort the authenticity of traditions.
c) I have mixed feelings.
d) I'm not sure.
Do you think media coverage adequately represents the diversity of folk
cultures?
a) Yes
b) No
c) Somewhat
d) I'm not sure
Which aspect of folk culture do you find most appealing?
a) Music and dance
b) Crafts and art
c) Traditional clothing and attire
d) Folklore and storytelling
How do you think social media has impacted the transmission of folk
traditions?
a) It has helped spread awareness and participation.
b) It has led to the dilution of traditional practices.
c) It hasn't had much impact.
d) I'm not sure.
Would you be interested in learning more about folk culture through
educational programs or workshops?
a) Yes, definitely
b) Maybe, if it's convenient
c) Not really interested
d) No, not at all
In your opinion, what role should governments play in preserving and
promoting folk culture?
a) Actively support cultural preservation initiatives
b) Provide funding for cultural events and organizations
c) Leave it to communities and individuals to preserve their own traditions
d) I'm not sure
How do you think globalization has affected traditional folk cultures?
a) It has led to the erosion of traditional practices.
b) It has facilitated cultural exchange and adaptation.
c) It hasn't had much impact.
d) I'm not sure.
What motivates you to engage with folk culture?
a) Cultural heritage and identity
b) Personal interest and enjoyment
c) Social connections and community involvement
d) Other (please specify)
Do you think there should be more media coverage of folk culture?
a) Yes
b) No
c) Maybe, if done responsibly
d) I'm not sure

Impact of Media Coverage in Folk Culture

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IMPACT OF MEDIA COVERAGE IN FOLK CULTURE

Folk media are generally considered to be the non-electronic communication media

Dorson (1976) observed that folklore outlines the hidden,

Ranganath (1980) described folk media as living expressions of

Classification of Folk lore

A) Oral Literature: This group includes spoken, sung and voiced

B) Material Culture: This is a visible part of folk behavior

C) Social Folk Custom: In this grouping, group intearction is

• 1) Traditional folk theatre forms

• 3) Oral literature-cum-musical forms

• 4) Fairs and festivals including social, ritual and

• 5) Traditional youth clubs particularly in tribal area

• 7) Ritual symbols, traditional designs and motifs

Tradition therefore implies age and a long period of continuity. It

Types of Folk Theatre

• Religious Folk Theatre

• Commercial Folk Theatre

Religious Folk Theatre

The re-enactment of epic religious myths in the yearly cycle or

Commercial Folk Theatre

There are a number of operatic folk theatres performed by city

• Their appeal is personal and at intimate level. Their

• Cross cultural hurdles are not encountered here

• Available to all and sundry and enjoyed by persons of different

• Its impact is much deeper and easily available to the

• Very useful for community development

• They belong to community and not to

• No threat of cultural colonialism or foreign

• Local message and localized talent have more credibility than

• These media are comparatively cheap

• Acceptability, cultural relevance entertainment value,

Arunachal as a multi-culture state inhabits different tribes and each

audience simultaneously is better achieved through modern mass media

The Nyishi tribe is one of the principal inhabitants of Arunachal Pradesh

• Motifs and symbols

Pare, Lower Subansiri, Upper Subansiri, East Kameng, Pakke Kessang,

1.1 : Bhuya as a medium for Communication

Bhuyan sonaam is a ceremonial dance of Nyishi tribe and it is very

1.2 : Statement of the Problem

old practices of Nyishi folk media? The convergence of modern mass

1. To enumerate the folk media of the Nyishi tribe of

1.5.1 : Objectives of the quasi-experiment:

1. To assess general opinion of Nyishi community for

The study is designed for exploratory research to understand the various

1.5 : Rationale of the Study

Nyishi society is passing through a process of transition from a

this socio-cultural transformation process. Arunachal Pradesh being a

The proposed study is exploratory and analytical in nature. The primary

effective and potential it has to use as a medium for mass

The media landscape has witnessed significant transformations in recent decades

In international research, mainstream media has been identified as the primary

memorizing religious incantations, precepts, and prophesies, reinforcing the close

Many Africans may benefit from familiarizing themselves with modern

The selection of participants in this study was a meticulous process guided by

Table 1: General Information about Respondents (Journalists)

2. Analysis and Interpretation of Data

2.1. Folk Media for Rural Development

In alignment with these perspectives, folk media serves as a means of

2.2. Folk Media and Urban Community

2.3. Media in the Era of Information and Technology

2.4. Social Ills in Urban Society

2.5. Development of Urban Society

2.6. A Model for Efficient Communication