• Improved socio-economic status has truly empowered the folk artists. They are now more united and are overcoming conflicts related to caste divisions.
• There is less atrocities to these people belonging to the lowest echelons of the society. Overall quality of life has also improved.
• The women artists are enjoying a new freedom as they travel across the country and earn from singing, dancing and painting.

• The strategy of dovetailing with SGSY scheme has helped in accessing available supporting structures (viz. PRI institutions, DRDA, banks etc.) for strengthening rural enterprise.
• Induction of new promoters and patrons for promotion of folk art. Musicians, film makers, music directors, clubs, bookstores, tourism service providers, recording companies, theatre directors, radio and television channels, print media are contributing in diverse ways in promotion and propagation of the art forms.
• The art forms have been revived and rejuvenated through the efforts of master folk artists and leading contemporary artists.
• Around 600 folk singers have learned to use mike and record songs in a studio. Improved skills have led to increased popularity and local demand.
• New stakeholders are supporting the folk artists in becoming cultural entrepreneurs. Panchayats have provided space to conduct training programmes..
• Voluntary organizations have come forward to support development of local resource centers. Musicians, researchers, film directors, event organizers, tourism stakeholders are working to create new promotional avenues for the folk artists.
• GOs and NGOs are using folk art for social communication on developmental issues.
• In 2008 – 09, workshops have been organized by different art promoters. Tanmoy Bose has organized five workshops with the Baul and Fakiri singers and have performed in various places. In 2008-09, the artists had a big boost as per program is concerned and have performed in almost 400 fairs and festivals. The Patachitra artists have learned to do social campaign on consumer activism.
• Folk festival Sanskriti Parichay, were organized in 10 districts of West Bengal resulting in improved awareness and opening up of new income opportunities.

• Innovating new products imbibing modern trends while safeguarding heritage aspects and using modern technologies like internet for dissemination has been one highlighting factor. Chau masks and costumes have been innovated for reducing cost of productions and workshops with mask makers of Charida and local tailors who make the Chau masks has also been effective

• The Chau dancers and contemporary musicians and theatre specialists worked together to innovate new Chau productions .Today Chau dancers are performing Tagore’s dance dramas Chitrangada and Kalmrigaya Katha, and even a production based on Shakespeare’s Macbeth. . Ghatotkach Sambhava was developed by Bhuban Kumar’s group of Bamnia, .Sukumar Ray’s ‘Lakshaner Shaktishel’ another production was developed .

• Contemporary artists and designers have worked with Patachitra artists to develop new products. Patachitra was skillfully used to make utility and decorative items like calendars, diaries, greeting cards, coasters, bags wall décor, lamp shades, T-shirts, Sarees, stoles, tie, Dupatta, paper Mache products, leather products, wrought iron products etc.

• The products have found their way to international markets. Partnerships have been developed with craft retailers like SASHA. The paintings of Patua from Pingla are adorning underground railway stations at Delhi.

• Bauls and Fakirs who had hardly any invitation to perform in Kolkata are now performing at London.

• Chau artists are doing campaigns on social awareness. Domni artists are helping their Panchayat to achieve Nirmal GP award. Gambhira artists are playing a role in stopping child marriage. Jhumur dancers are traveling beyond their village to neighbouring states.