SHIVARAPATNA STONE CRAFT IN KARNATAKA - EXPLORING THE TRANSFORMATIVE ROLE OF INNOVATION IN TRADITIONAL HANDICRAFT AND CULTURAL IDENTITY (original) (raw)
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This paper covers the dynamics of Soapstone Craft of Dhakotha. Broadly this paper can be divided into two parts, i.e., crafts study part and product design intervention part. The crafts study part includes-research methods, craft introduction, crafts location, craft history, available raw materials, craftsmen and existing skill sets, tools under use, involved craftsmanship processes, existing product ranges etc. On the basis of understandings developed during crafts study, this researcher had explored different market specific and end-user focused product design possibilities. The product design intervention part includes different product design interventions and collections developed by researcher with a holistic approach. There are two different soapstone clusters, with different skill sets, i.e., Soapstone carving cluster and Soapstone ପତ୍ ଥର କୁ ଣ୍ ଡ or Patthar Kundo cluster; are practicing in same geographical area, so studying and exploring interventions in joint mode was an interesting experience for this researcher. This craft study cum design intervention initiative was conducted during 2010-2011 by this author.
Indian Handicrafts: Growing or Depleting
The Indian handicraft industry forms a major part of the rich cultural heritage of the country. It is an unorganized, decentralized, labour intensive cottage industry. Some of the strengths identified are availability of abundant & cheap labour in the country, use of local resources, low capital investment and unique craftsmanship in the manufacturing of products along with increasing appreciation by international consumers. Despite the strengths, the industry faces a number of problems in the country such as low literacy and education levels, lack of modern / technological skills & lack of adequate finance. The planning commission acknowledges the fact that the unorganized sector that constitutes about 93% of the workforce doesn't have a structured system to support acquiring or upgrading of skills. The 12th Five Year Plan's vision for the handicraft sector includes creation of globally competitive handicrafts and provision of sustainable livelihood opportunities to the artisans through innovative product designs, better product quality & use of technology while preserving traditional art. Various schemes have been designed and efforts have been taken to achieve this vision. How effective are these efforts, remains questionable. This case, through a secondary literary study presents the current situation of the handicraft sector and the artisans alike in order to facilitate analysis of problems and identification of developmental pathways.
Amresh Panigrahi, 2017
India is known for its cultural diversity. Varanasi is the most prominent city in India which lives its true sense. Varanasi today is the “archetype of India”, perceived as a site of vividness with diversity and unity are easily envisioned in its religion, culture, society and economy. The transfusion of the cultures significantly contributed to the cultural development of the Varanasi city. The Foremost, sector which is prominently affected were the Crafts of Varanasi. Since time immemorial, Varanasi became a city known for its intricate craft skills in various forms & medium. Due to the presence of many Hindu, Buddhists and Islamic centres of learning, Varanasi has always encouraged the growth of the arts and tried to integrate the stylization in various forms. Varanasi continues to be the city of myths and attracts tourists, pilgrims and immigrants around the country. People from different parts of the country came and settled in Varanasi and brought with them the skills of their homeland. These skills were then introduced in Varanasi and were beautifully blended with the ethos of the city, thus giving these crafts of Varanasi a unique character. Soft stone craft of Ramnagar, Varanasi is one of the many crafts significantly influenced by the diversity of the place, people, religion and different school of thoughts a true symbol of India’s “Ganga Jamuni Tehzeeb”. On the other hand the most recent competitive market and globalization brought an ample opportunity for craft to grow. However the craft is very much commercialized slowly forgetting its relevance and intention with time. Unfortunately there is a significant decline in young generation artisan, entrepreneur not so keen to take this as a livelihood opportunity. In the given scenario the role of Design is very crucial, closely understand the component of the craft identity, what makes the craft unique in a culturally diverse setting and understood its substance and create a scope for skill and product diversification in Soft stone craft for the practicing minority community in Ramanagar, Varanasi. The creation and sustenance of an identity of craft is very crucial considering its socio cultural ecosystem and economic stability considering that time. The design intervention was planned with certain hypothesis and the very 1st workshop was so far conducted to keeping the Empathy as a strategy for diversity. The other intention is also to bring an updated knowledge base and techniques to the young practicing artisan and encourage them to diversify the visual identity of the craft with much clever way and appreciate the ethos of the city and sustain its Diversity for time to come.
Proceedings of the 10th International Conference on Design History and Design Studies, 2016
The north east states in India is home to diverse ethnic communities who excel in bamboo and cane crafts. Often located in remote villages these communities lack access to commercial urban markets. Economic growth suffers and the community fails to translate its crafts into a successful enterprise. This paper will present design led interventions that were initiated by a design team amongst such remotely located craft communities in the north eastern hill state of Meghalaya, India. 'Restrained Technology Intervention' (RTI) model was adopted that enhanced productivity and quality standards, but retained the skill sets of the artisan community. A comprehensive community development plan was outlined that included skill assessment, craft training programs in productivity enhancement methods following the RTI approach. A branding and online marketing plan was developed which considered employment opportunities for the educated unemployed youth of the state. Market testing was undertaken with sample production of the newly designed products to verify their acceptance amongst two leading retail-marketing agencies in the country. A unique initiative in compiling a database of the craft community resulted in celebrating identity of individual craftsman in that collective. It was envisaged that this intervention would result in bringing a sustainable business enterprise that gave direct access to every member of the craft community collectives across the state. The paper suggests that this entrepreneurial model in product development and marketing of Handicraft products can be adopted as a policy initiative for growth of the handicraft and the handloom sector. In the Indian government's new thrust on 'Make in India', such an inclusive approach has the potential to generate economic growth opportunities for the vast pool of highly skilled craft communities spread across the country.
SC/ST Research & Training Institute, Odisha, 2020
(PVTG) and the Bondo (PVTG). 10. Soap stone crafts: The Santhal artisans are skilled in their indigenous technology of stone carving and kunda making and have been continuing their crafts tradition without any Government support till date. The tribal artisans engaged in this work are not earning well from this craft but have been continuing since they are getting their subsistence from this occupation. The carving craft is a time consuming and rigorous process, which may be overcome through introducing small, lightweight, accurate and precise, energy operated tools for soapstone carving community. This craft requires conservation supports. This may be achieved through establishing a marketing network of Patthar Kundo products and popularization of this craft among its potential end-consumers etc. 11. Fibre craft: Crafts made out of natural fibre such as of Siali vine bark, sun hemp, sabai grass, etc is a domain expertise of the Mankirdia and Bathudi tribe in the Mayurbhanj district of Odisha. These crafts always have a ready domestic market. However, considered from livelihood earning point of view it is realized that the crafts are not remunerative enough when transacted in the local markets. Further, with availability of synthetic substitutes, the marketing of these indigenous products has been facing challenges. The tribes engaged in the crafts making appeal for adequate government patronage for promotion and marketing of their crafts. 12. Tie and dye: The art of tying and dying by the Bhuiyans in Sundergarh district adds to the heritage of Odisha art and crafts. The traditional practice of tie and dye was dying down. However, the rising market demand in the recent days for such products may be seen as potential to promote enterprises and trade linkages. 13. The Dhokra craft: The crafts made by Kandha and Santals is getting popular day by day and seems to have a promising future. The tribesmen who have been making the crafts are confronted with market challenges. Santhal Painting, Lacquer craft, Soap stone craft, dhokra, fibre craft Saunti Stone craft Binjhal Bell metal Sabar Cotton durry Kisan Broom Chapter 5-Social, cultural, economic, technological, market related and developmental issues have been identified that are potential impediments to promotion of indigenous art and crafts. The issues have been covered in detail and have been placed in Chapter-5. The status of art and crafts in the identified clusters, the problems faced by the artisan communities, major challenges and possible ways of mitigating challenges have been elaborately described. The chapter also provides the real time situation regarding the status of art and crafts and the artisan communities with 16 case studies. Chapter-6 deals with the value chain analysis of indigenous art and crafts having market potential. The value chain analysis in respect of each art and craft in the identified clusters have been detailed. Each value chain analysis is sufficed with SWOT (Strength, Weakness, Opportunity, Threat) analysis in order to understand viability of each cluster for promotion of respective art and craft. The chapter-7 presents tentative action plan in respect of specific art and craft objects in specific identified clusters. The chapter analyses the various components of an action plan and on the basis of that has provided a tentative and suggestive action plan for promotion and upgradation of the crafts clusters. The chapter-8 presents summary and conclusion in which the problems and prospects of the tribal crafts-persons and artisans have been well articulated. The chapter also provides certain considerations for maintaining sustainability of the indigenous art and craft traditions. The chapter concludes the study after analysing the factors that are found instrumental and influential in conserving and promoting indigenous art and crafts. PROBLEMS FACED BY ARTISANS IN PROMOTION OF ART AND CRAFT The study has been able to identify following challenges in context of conservation and promotion of indigenous art and craft of the tribal communities in Odisha. SUSTAINABILITY ASPECTS OF INDIGENOUS ART AND CRAFTS Many factors need to be considered in order to understand the aspects of sustainability of production of tribal art and crafts. The important factors that need to be considered seriously while making efforts for promotion of tribal art and crafts, as identified from the field studies, are: Cultural factors: Cultural factors of the tribal societies are intricately linked with most of the art and craft items that they produce. Particular art and craft assume to be the culture markers of particular tribes. As long as the tribal culture, in its holistic form, is intact the art and crafts may continue to survive despite constraints and limitations. Gender: In the study areas both male and female artisans work together. The number of man power required in the handicrafts production has been considerably reduced in recent year because even the women members in the community prefer to work in other sectors. Economic Activity: Most of the artisans are working on daily wages in making handicrafts. The wages of the tribal people are different because the price of the products is different. They do not have a regular wage pattern. Working hours: The working hour of tribal community is different because engaging in art and craft is their secondary occupation. Usually they work on art and craft in relaxed times and also during such days when they do not have much work in hand. Thus, they fail to cater to market demand when they are occupied otherwise. Marketing Support: The tribal artisans gets marketing support from the government through participation exhibitions, festivals and trade fares. However, that does not ensure a secured market for their produces. The marketing support should mean strategic market access programs and a regular market for transactions. Market Demand: The tribal art and crafts have good market demand. Most of the artisans believe that because of the market demand they have been getting good deal of orders. However, in most cases such demands come suddenly for which the artisans were not prepared. Hence, regular interaction with market is required to understand the different levels of demands across months in a year. Technological factors: In almost all cases the tribal artisans have been making their products following indigenous technology. There is need for technological upgradation to cater to the choice and demand of market. Without up-gradation of technology, the sustainability of production and catering to the need of market cannot be ensured. Products: The craftsmen who are working individually make four or five numbers of a product per week. However, those who work in groups they usually produce more goods in a week. While quantities of products determine the income, group enterprise would help them produce bulk quantity and so would fetch better income. Hence, group enterprises should be given emphasis to sustain the production of art and crafts by tribal artisans. Market access and marketing ability: The traditional means of market access is vending by moving door to door, and taking the products to local market. In both the cases they have been facing drudgery and distress sale. Market access needs different techniques and strategies and accordingly the marketing ability of the artisans need to be enhanced to sustain the indigenous art and craft. CONTENT Sl.
Nowadays the process through which the sandstone craft products are produced at North Singapadu Village has changed. The appearance of different types of popular sandstone craft products reflecting the local identity produced by the young craftsmen at North Singapadu Village shows this. Such products are different from the traditional sandstone craft ones in terms of form and aesthetic style. Globalization, ideology and technology have basically led to the change. The sandstone industry has become highly innovative. This present study uses the qualitative and interpretative method and the theories used are the theory of acculturation, the theory of deconstruction, and the theory of postmodern aesthetics. The conclusion of the present study is that the form and process of innovation initially resulted from new ideas and concepts and the craftsmen's paradigm. The main things which have been responsible for changing the traditional way of life into the modern way of life are formal education, tourism and modern technologies. Those who are positively and negatively affected by globalization are not only the capital owners and craftsmen but the villagers and consumers as well. The sandstone craft products at North Singapadu Village contain the meaning of creativity, the economic meaning, the commodificative meaning and the meaning of cultural change. The finding of the study shows that the craftsmen at North Singapadu Village have ignored the traditional concepts, the technique of producing the products, and the materials used. However, the sandstone craft products at North Singapadu Village do not get extinct but remain to exist and both domestic and foreign consumers are interested in them.
Design Issues, 2018
Introduction How can design practice mediate deepening economic, social, and cultural divides between traditional craftspeople and modern markets, to make design truly a paradigm for the social change desired by craftspeople? How can expert design practitioners effect social change, when modern markets risk appropriating traditional craftspeople as labor, albeit skilled labor, and either disenfranchising them as objects of charity, or museumizing them as cultural heritage? 1 In this paper, I focus on accounts from designers who work with people in vulnerable craft communities. 2 The accounts reveal that seeing craftspeople not as consumers of design expertise but as active producers of cultural value is an important step toward their emancipation.
2021
Design in any form of craft cannot be just considered a piece of object embroidered but something which has a symbolic utility. Symbols assigned to the cultural objects of representation can be used as strong tool for social messages or voices to the people. For example, Mahatma Gandhi's use of charkha, the spinning wheel during the freedom struggle became the symbol of national integration. In consumer culture where designs become a highly visible marker of choices, particular social and class structure tend to possess distinctive taste preferences for certain motifs and objects over others and hence these preferred motifs and objects become the marker of aesthetic value and social identity (Bourdieu, 1984¹; Woodward, 2001²). These objects are assigned cultural meanings in the contexts of narratives of self, identity and biography in which they are embedded whereby social actors go about actively constructing linkages between their ideational and physical environment (Gibson, 1986³; Harré, 2002 4). Similarly, textile and handicraft objects can be interpreted symbolically as having their realistic and abstract communicative qualities. In this regard, Padmashali weavers of Telangana and Jaapi Artisans of Assam can be studied in order to trace the mental constructs and social implications of the art and designs they assign in their objects of representations and consumptions. Handicraft communities such as traditional weavers and agricultural artisans possess the culturally learned language of creative symbolism within the medium of their produced items and their creative agency as designer, weaver, finisher and owner (Femenias et al., 1987 5 ; Heckman, 2003 6). These utilitarian objects of everyday use has great ritualistic cultural importance and become a strong tool for visual storytelling about the socio-ecological setting of those creators as art holds creative space and time cross culturally through both realistic and symbolic expressions (Jung, 1968 7). Traditional handicrafts as material representation of values and worldviews preserve the cultural identity of a community or a region in particular and national identity in general and acts as the educative tool for the present generation about the socio-ecological life of the past generation of the producer culture (Peterson, 1984 8 ; Seidman, 1990 9). Cultural Symbolism which the symbolic and interpretive anthropologists developed over time focuses on how people give meanings to their reality and how this reality is expressed by their cultural symbols being reflected in their art and language (Geertz, 1973 10). According to Geertz, to understand a culture is to rely on Thick Description which specifies many details, conceptual structures and meanings hidden in the art and language of the people and an ethnographer's task is to extract those hidden structures that make up a culture. Steward's Cultural Ecology (1955) 11 states that culture tends to survive and continue in two orders, Cultural Core and Secondary Features. While Cultural Core of a society forms the basic survival strategies associated with subsistence pattern and economic arrangement, Secondary Features include social, political and religious organizations which are the results of the extractive subsistence technology and social behaviours, built on and shaped by the core.
For a researcher, studying the dynamics of a traditional handcraft and indigenous knowledge becomes interesting during the research identification process, especially when a study turns into a comparative one between what actually s/he has personally witnessed in its applied area and its pre-existing insufficiently documented database. Sometimes, these documents are supportive but just bear few insufficient bullet points with some of those being contraindicating too. On the other hand, the existing status of a craft includes indigenous craft techniques, hereditary knowledge, work culture, materials, tools, line of end products, socio-cultural importance of craft, associated folklore roots and other ingredients, which represents an overall set of 'evidenced legacy' of any traditional heritage. The present documented status of flexible brass craft of Bellaguntha is also suffering from above mentioned situation. This paper covers some of the interesting cases found by this author, during his studies of pre-existing documents, concerned with this craft and presents the dynamics of product designing. The purpose of the study is to conduct a systematic documentation to enrich the database about this craft for its manifold benefit.