About the Book IGNCA is a treasure-trove of cultural artifacts including a rich repository of Video documentaries (published) and Audio and Video DVDs (unpublished). This book – based on the author’s two-year project -- envisions an on-line A-V cultural archive KALASAMPADA that consists of A-V materials stored at IGNCA for the categories of: Interviews; Ritual Documentation; Archaeological Sites and Walk-through; Events; Festivals; Performances (music-dance-theatre-puppetry-mime); Lectures; Seminars; and Workshops. In order to make such a wide variety of materials available on-line – initially on the Intranet, subsequently on a potential Extranet, and eventually (although very selectively) on the Internet – the following digitisation road-map is observed in the project:  Conversion of primary A-V materials from analogue to digital format;  Creation of data sheets for metadata tagging, following the international standard of Dublin Core Metadata Element Set (DCMES);  Integration of metadata with primary A-V material in IGNCA’s Intranet;  Access and retrieval by “simple search” with keywords for casual browsers and “advanced search” for users, researchers and scholars with reference to groups of keywords from the intranet. The objectives of the project of on-line A-V cultural archive are: to bring it into public domain; to make it inter-active for scholars; and to make it internationally compatible. Basic advantages of such a project are really five-fold. First, a digital A-V archive assures the near permanent durability of the A-V material. Secondly, it allows need-based quality enhancement. Thirdly, an archive of this kind makes room for highly economic storage of vulnerable Audio and Video files. Fourthly, a digital archive proves to be very useful in terms of fast information transfer. Lastly, the use of IT in creating such an archive makes possible virtually instant aces and retrieval of information by scholars, users and researchers. A training framework for metadata management – the core of the project -- has been added to facilitate continuation of the work. 1 About the Author Dr. Utpal K. Banerjee has been an adviser on Management and Information Technology for 35 years, after obtaining Ph D in the UK as Commonwealth Scholar. He has always an abiding interest in Indian Art and Culture. He has been National Project Director for IGNCA relating to the UNDP project on Multimedia Database for Art and Culture Documentation and Computerisation (1991-93). He lectured on Indian Art and Culture in Canada (1990) and in South America (1998) under ICCR and gave similar lectures in Canada (1992, 1995) under Kalabharati. He gave lectures on Indian Art and Culture for the IFS probationers and in the Foreign Service Institute (FSI) to Afro-Asian diplomats. His article on “Role of Cultural Diplomacy” appeared in Indian Foreign Policy Agenda for the 21st Century from FSI. His comprehensive book on Indian Performing Arts (1992) has gone into several editions. He presented Tagore’s Dance in ‘World Dance Alliance – Global Summit’ in Brisbane, Australia, 2008. His writings for theatre criticism began with ENACT from the 1960s and continued over the subsequent decades. His major books on theatre are: Bengali Theatre: 200 Years (1998), Indian Theatre in 21st Century (2009) and Theatre in South Asia: Frontiers of India, Pakistan, Nepal, Bangladesh and Overseas (2012). He regularly wrote on arts and culture scene in prominent daily newspapers and journals, including India Perspective, Indrama quarterly and Indian Horizons. He has, since 1994, a regular cultural column in The Pioneer. He has been a regular contributor on cultural and professional programmes to London BBC, AIR and Television over last 32 years. His in-depth interviews of Indian dance; music and, theatre luminaries for DD Bharati are frequently telecast. His book Hindu Joy of Life (2006) was followed by Indian Performing Arts: A Mosaic (2006) and Millennium Glimpses of Indian Performing Arts (2006), besides Exuberance of Indian Classical Dance (2010) and Indian Contemporary Dance Extravaganza (2010). He has now done Vignettes of Indian Performing Arts (2013, two volumes). He planned and executed, for DD Archives, a set of DVDs on Tagore’s memorable songs and provided full texts for 53 episodes of Bharat: Ek Khoj by Shyam Benegal for their 14 DVDs. On Indian puppetry, his collaborative books are: Indian Puppets (2006), Indian Puppetry &Puppet Stories (2007), and Puppets of India and the World (2014). His current works are: Luminous Harmony: Indian Art & Culture (2011), Rainbow Rhymes of Tagore for children in four volumes (Sahitya Akademi, 2011), Tagore-nama (2011), Tagore’s Mystique of Dance (2011) and Tagore’s dance-drama Omnibus (2012). He has done tri- lingual translations: Mystic Songs of Tagore, Romantic Songs of Tagore and Patriotic Songs of Tagore (2012-13). In fact, having completed 7 books on Tagore within his 150th Birth commemoration year, he received “All-India Record” from Limca Book of Records (2013 ed.). 2 He was given Senior Fellowship by Government of India 2007-09, for working on A journey with the Buddha (2010, 2-volume). He was “Chief Coordinator” for the official “Leaders of India” project under Prasar Bharati, for collecting audio & video-holdings on Mahatma Gandhi, Jawaharlal Nehru, Indira Gandhi & Rajiv Gandhi, for archiving and eventually creating an interactive Website in 2010. He was awarded Padma Shri in 2009. He was made “Tagore Research Scholar” under the prestigious “Tagore National Fellowship” at IGNCA for 2012-14. Sumit Dey has been a product of Jadavpur University, Kolkata, having topped their Master’s degree in Film Studies. His work experience covers AIR as news editor in FM channel and Press Information Bureau as translator. Currently, having completed and been awarded M Phil degree in Film Studies from Jawaharlal Nehru University, Delhi, he is engaged in their Ph D programme. He has written about cinema in newspapers, national journals and Websites. 3 TOWARDS AN 0N-LINE AUDIO-VISUAL CULTURAL ARCHIVE By (Dr) Utpal K Banerjee Tagore Research Scholar Assisted by Sumit Dey Senior Research Fellow Indira Gandhi National Centre for the Arts New Delhi 2014 4 To Kamalini Dutt, Belonging to the Door Darshan top brass And A long-standing friend, In whose company My sojourn in the alluring labyrinths of metadata Among The sprawling domains of archives First began 5 CONTENTS  CHAPTER 1 – INTRODUCTION  CHAPTER 2 -- WHAT IS AUDIO-VISUAL CULTURAL ARCHIVE?  CHAPTER 3 – GENESIS OF IGNCA AS REPOSITORY OF A-V CULTURAL RESOURCES  CHAPTER 4 – IGNCA’S A-V CULTURAL RESOUCES  CHAPTER 5 – STRATEGY TO CREATE A-V CULTURAL ARCHIVE  CHAPTER 6 – METADATA MANAGEMENT  CHAPTER 7 – INTELLECTUAL PROPERTY RIGHTS  CHAPTER 8 – HOUSE-KEEPING  CHAPTER 9 -- DISSEMINATION VIA INTRANET  CHAPTER 10 – GLOBAL ACCESS ON THE INTERNET  CHAPTER 11 -- POTENTIAL FOR NATIONAL-LEVEL A-V CULTURAL ARCHIVE  CHAPTER 12 – TRAINING FRAMEWORK FOR METADATA MANAGEMENT  SAMPLE OVERVIEW OF ON-LINE A-V CULTURAL ARCHIVE (with metadata): Appendix I: Video DVDs -- Published Appendix II: Video DVDs and Audio DVDs -- Unpublished Appendix III: A-V Holdings of Selected Institutions in India Index 6 CHAPTER 1 INTRODUCTION Our focus in this book is primarily to provide on-line access and retrieval facilities to uses, scholars and researchers to Indira Gandhi National Centre for the Arts (IGNCA)’s incredibly rich audio-visual archives spread over its many divisions. Accordingly, our approach has been to build up three major conceptual planks: tools of access; one-point on-line entry; and convertibility to inter-active Website. Tools of Access The rich heritage held in the repositories of IGNCA, of the audio-visual (A-V) kind, is either as analog cassettes and their many variants; or as digitally-converted -- audio and video -- digital video-disks (DVDs). The latter, which are our primary concern, are derived from many IGNCA divisions, such as, Kalanidhi, Kalakosa, Janapada Sampada and others; and their constituents, such as, Cultural Archive. While digital conversion of the analog resources has been done with a great deal of finesse and technical competence, it has not often been found feasible to maintain their source documents and, even if maintained in the parent divisions, to link them with the ultimate digital products. In consequence, while audio and video DVDs are maintained with scrupulous care, there is little obvious clue to their technical details (on contents, etc.); administrative details (on copyrights, etc.); and house-keeping details (on versions, etc.), in order to provide their easy access to users. While some of these details have been carried forward up to the stage of preparing DVDs, what has been particularly lacking comprises the following access parameters desirable for their access and retrieval:  Subject – to afford convenience of access and as per available standards;  Abstract – to describe, in a succinct form, the subject-coverage;  Keywords – to give an inkling into the range and depth of subject-coverage;  Groups of Keywords – to enable subject-area experts to seek access relating to their own specialised domains. 7 The above constitutes the tools (collectively referred to as “metadata”) for access and retrieval, which have been developed for users, scholars and researchers; over the last two years for the given resources. These tools are fully described in the book. One-point On-line Entry As mentioned earlier, IGNCA is a multi-nodal organisation that holds its diverse resources on a distributed basis and it is seldom possible for common users – with no clear idea as to what is available and accessible – to make a centralised query. Especially for aA-V resources, such a central access-point was earlier not available. KALA SAMPADA – DIGITAL LIBRARY OF CULTURAL RESOURCES, created under the expertise of Central Informatics Laboratory (CIL), is such an admirable central repository that provides specifically this facility. In other words, KALA SAMPADA is a one-stop entry-point for search, i.e., for access and retrieval of all IGNCA audio and video DVD resources that are systemically being built into KALA SAMPADA, with complete “metadata” tagging. Once completed, this will provide the single window for viewing all the IGNCA DVDs on an inter-active basis: based on a subject-based, keyword-based “simple search” by casual users, or, subject-based, groups of keyword-based “advanced search” for subject-area specialists. Technologically speaking, this involves the networking of IGNCA resource-centres into an INTRANET hub and earmarking individual on-line consoles/terminals to a a single user or a cluster of users, scholars and researchers: on personal basis, or, at individual points/locations. Convertibility to Inter-active Website This a futuristic process, the intermediate stage of which can be bringing together other like-minded organisations in India – with substantive audio-visual cultural archives -- into an on-line network for an “extended” KALASAMPADA with IGNCA, termed EXTRANET, subject to their policy and concurrence, and subject to the IGNCA software (or any other compatible software) being made available to them for ingestion and metadata tagging. Typically, such institutions can be Sangeet Natak Akademi, National School of Drama, etc., in the official sector and National Centre of performing Arts in the private sector. The purpose will be the same, namely, to allow users, scholars and researchers to access and retrieve 8 cultural information – on an interactive basis -- at their convenience on a decentralised basis. Technologically, this is EXTRANET where organisations are networked together on-line with mutual resource-sharing facilities and within their own copyright domains. There is logical potential to extend the EXTRANET facilities to more and more organisations over a period of time, and link – selectively -- to the World- wide Web in due course. Conclusion To summarise, the facility will be made internationally on-line and an interactive “global” KALASAMPADA will be created – with the same TCP/IP protocols as applicable for INTRANET and EXTRANET, thus making a smooth transition – for a World-Wide Web: subject to copyright restrictions and selective sharing of audio-visual resources for universal search and retrieval. This will be a unique phenomenon for making Indian heritage open to the cognoscente of the whole world! 9 CHAPTER 2 WHAT IS AUDIO-VISUAL CULTURAL ARCHIVE? A Cultural Archive is one that contains different forms of cultural objects. The objects could vary from actual cultural artifacts to virtual walk-through of a place of importance; audio-visual documentation of intangible cultural heritage to manuscripts; image bank to music repository; and more. The age of the Internet allows the existence of on-line cultural archives with well-documented cultural objects experiencing a digital afterlife. Materials relating to different genres in the original (and in other forms of copies) are collected, classified and catalogued in the cultural archives. The archives are enriched by personal collection, ethnographic collections documentation and cultural exchange. Many scholars, artists and art enthusiasts, over the last decades, have carefully and dedicatedly collected materials of their interest ranging from literature, personal histories, recitations, painting, music, folklore and tribal arts. Some of these rare collections of ethnography and A-V documentation of old masters and rare art-forms are also acquired by the archives. Audio-Visual Cultural Archive An A-V archive is a place where recordings (and holdings) are stored for the purpose of both preservation and use. Archives differ from libraries in that they collect unpublished material as well as published recordings. They also place a stronger emphasis on preservation for the future than most libraries, which make the recordings more easily available to the public. Libraries, for example, give patrons access to the original recording; archives give patrons access to a copy of the original, the latter being carefully stored. In the past century and a half, a great deal of information has been recorded on audio and visual media. These media capture a different reality than those of paper documents. Non-literate people can speak for themselves, events are captured without the bias of the writer and certain phenomena that almost completely escape the written word can be fully disconnected, such as, dance and music. These non-written parts of human culture are recognised everywhere to be highly significant. The same is true of transcriptions of music and dance. They 10