This conference invites us to think about various notions surrounding the cultural heritage and its performance (Bourdieu 1980). Groups from all over the world come together with one common aim: to represent cultural traditions and to perform them. If we consider the concepts of "imagined communities" (Anderson 1983), tradition is poorly exercised in an inheritance framework since the notion of cultural transmission is vague and needs to be redefined. As we also see with the regional cultures of France, tradition can be interpreted as a stooge and a possibility of representing identity (Reed-Danahay 1991).


As a fundamental operator of reflection in human sciences, ‘transmission’ is an increasingly important theme in contemporary thought of different fields: anthropology, sociology, performance studies, etc. Whether grappling with how material/immaterial practices and contents are communicated (e.g. sociocultural, linguistic or genetic ‘heritage’), or serving as an analytic framework through which to trace human connections and impacts in time and space, the theme of transmission gives us a topic to explore through the spectrum of all perspectives.


Moreover, this type of festive event invites us to think about diversity and this notion of cultural and musical heritage, in all its intangibility. It also brings us to reconsider the representability of indigenous languages, spoken by at least four groups at the festival this year (including Pumi - China, MicMac - Canada for instance); and which give us the opportunity to highlight the influence of a state linguistic policy on the use and representation of a language and a culture. As well, we can see and try to understand the numerous issues of the linguistic revitalization of an endangered language, combined with a loss of the cultural transmission and various socio-economic complications. In many ways, we can show that music and poetics are used and employed to restore language to its natural reach by music, dance and tales; whether in a disadvantaged or rich country, the context of a minority language or culture drives the performance of identity. We can propose a comparative analysis and evoke the connections with a regional language such as the “Auvergnat”, an Occitan dialect spoken in the place and endangered (Regional Atlas of the Endangered Languages, UNESCO 2019). The creator of the Gannat Festival – Jean Roche – spoke himself this language and presented some of the shows in “Auvergnat” whereas most of the local population only speaks French. This leads us to reconsider once again the place of cultural representation; performative and ethnopoetic fields in an intercultural exchange (Bloomaert 2007, Hymes 2003).



The overall theme for the conference is Indigenous Languages, Traditional Music and Dance within an Intercultural Performance!


Topics may include but are not limited to:

  • Indigenous Languages

  • Traditional Music, Dance and Art forms

  • Intangible Cultural Heritage

  • Ritualistic Traditions

  • Traditional Storytelling

  • Mother Language

  • Traditional Knowledge

  • Blending aspects of Intangible Cultural Heritage in Teaching and Learning

  • Promoting, Safeguarding and Protecting the Intangible Cultural heritage through Technology

  • Popular Culture and Indigenous Languages


The conference aims to:

  • Develop a network of educators and industry experts in the field of Intangible Cultural Heritage.

  • Support researchers and students in the field of Intangible Cultural Heritage.

  • Support the cultural groups participating in the Gannat Festival and explore possibilities of working collaboratively with them.

  • Foster partnerships between government, NGOs and community groups.

  • Increase awareness about the Intangible Cultural Heritage, with a focus on indigenous languages.


All selected Papers will be Published either as, ONLINE DOI-Indexed proceedings, ISSN journal or in the form of an edited book.


Submission of Abstract and Paper/Creative work:

Academicians, researchers, students, industry experts and filmmakers are invited to submit papers or creative work (film, multi-media etc.) which is their original unpublished work.

Submit the Abstract and the Full Paper by email

Conference Email:



Format of Abstract:

Key words: Mention 4 to 5 key words

Length of Abstract: 250 - 300 words

Authors: Brief introduction of Author/Co-author (Max. 100 words)


Last date for Abstract submission: 5th July, 2019


Format of the Full Paper:

Length of paper: 3000 – 5000 words

First page: First page should contain title along with full names of author/authors with designations

Title of paper: Times New Roman 14 bold caps

After one space: Author, Affiliation, e-mail in font 12 italics. Leave one space. Then Abstract title in 12 bold; Abstract in Times New Roman font 12 justified

Main text of paper: Titles in Times New Roman 12 bold caps; Text in Times New Roman 12 justified

Subheadings: Times New Roman 12 bold italics

Spacing: 1.5 between lines

Margins: 2.5 cm.

Paging: Page numbers at the right bottom of the page

Figures: Title should be at the bottom of figure

Tables: Title to be at top of table

References: APA format


Submission of creative works:

For creative works submission, kindly follow the abstract submission format as mentioned above. You can share your creative work/screener via google drive, drop box or youtube link.


Registration Dates:

Early Conference Registration date: 1st June, 2019

Round-II Conference Registration date: 30th June, 2019

After Round-II Late Conference Registration date: 15th July, 2019