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Paper short abstract:

Third generation rights in contrast to first and second generation rights, based on ‘fraternity’ and they do not deal with ‘rights of individual’. They can be realized by the combined efforts of all social actors: individuals, states, public and private associations, and the international community. This paper will examine ‘folk music’ as a form of third generation human rights: to link the cultural practices and social activities surrounding the human act of music making, music as a form of cultural property to assert identity that can be controlled or owned. In the context of Assam, due to the political manipulation by the colonial power, densely populated Rajbonshi territories were bifurcated to create Assam and Bengal. After the territorial split, the Rajbonshis living in both the states lost their language, culture as well as their civilizational roots. Renowned folk singer, late Pratima Barua Pandey emerged at a juncture from Western Assam when the Koch Rajbonshis had to encounter a phase of crisis. Her songs became the instruments of effective intervention to usher in a path of hope for those people who desperately needed a direction for possible redemption of their socio cultural identity. The repertoire of her songs covered all aspects of Koch Rajbonshi community and created a state of emancipation by legitimizing folk music vis a vis the identity of a marginalized community which will be explored in this paper. Role of folk music as a vehicle for building new forms of political community will be highlighted.

Paper long abstract:

Third generation rights in contrast to first and second generation rights, based on 'fraternity' and they do not deal with 'rights of individual'. They can be realized by the combined efforts of all social actors: individuals, states, public and private associations, and the international community. This paper will examine 'folk music' as a form of third generation human rights: to link the cultural practices and social activities surrounding the human act of music making, music as a form of cultural property to assert identity that can be controlled or owned.

In the context of Assam, due to the political manipulation by the colonial power, densely populated Rajbonshi territories were bifurcated to create Assam and Bengal. After the territorial split, the Rajbonshis living in both the states lost their language, culture as well as their civilizational roots. Renowned folk singer, late Pratima Barua Pandey emerged at a juncture from Western Assam when the Koch Rajbonshis had to encounter a phase of crisis. Her songs became the instruments of effective intervention to usher in a path of hope for those people who desperately needed a direction for possible redemption of their socio cultural identity.