09-26-2007, 04:46 AM
Book Review in Pioneer, 25 Sept., 2007
<!--QuoteBegin-->QUOTE<!--QuoteEBegin-->Weaving history of Indian textiles
Utpal K Banerjee
<b>Threads & Voices: Behind the Indian Textile Tradition, Laila Tyabji (ed), Marg Publications, Rs 2500</b>
It must be stated at the outset that the book under review is related to the enormously meaningful work that the noted organisation Dastkar has been doing in the Indian crafts world in general and in the arena of textiles in particular. It is, however, by no means a comprehensive portrayal of Indian textiles, as the name of the tome might suggest.
This is, however, not to diminish the value of the issues examined in the collection of essays compiled here, which covers, as the blurb claims, "the learning process that went into the making of both craftspeople and intervention agencies; the cultural importance to the craftspeople of the motifs and designs they use; how designs and products have changed with changing markets and lifestyles; how far technology has changed crafts and working conditions; and the conflict in craft today between economics and tradition, fashion and creativity. For most craftspeople, their craft is hard economics; it is encouraging and moving that for many, it also remains art".
<b>Established in 1981, Dastkar tries to promote craft as a socio-cultural and economic force that, despite being marginalised due to urbanisation and industrialisation, has enormous strength and potential.</b> The objective of Dastkar's programmes is to help craftspeople, especially women, to use their own traditional craft skills as a means of employment, income generation and economic self-sufficiency. Dastkar guides this process: From identifying the skill; creating awareness of its potential in both craftsperson and consumer; developing, designing, costing and then marketing the product; and, finally, suggesting proper usages and investment of the income generated.
<b>Dastkar attempts to ensure that the end-product is competitive -- not just in its worthiness of purpose or the need of its produce, but also in cost, utility and aesthetics.</b> A consumer does not have to buy out of compassion!
<b>It is true that crafts and craftspeople have a vital role to play in contemporary India -- not just as part of its cultural and aesthetic past, but also economic future.</b> Elaben Bhatt, founder of SEWA (Self-Employed Women's Association), says regarding Dastkar's endeavours, "The organisation started the movement and gave many NGOs and craftspeople the confidence to make good crafts products and market them directly. It showed us the way and gave us direction. Today, there is consequently an all-India movement of craft as a means to sustainable employment."
The tome offers a set of sectarian studies of this process, but the momentum of the all-India movement has not been missed out. <b>The studies are, by themselves, neat and authentic -- mostly first-hand reportage. The focus is clearly on tradition in transition: Through either historical analyses or pure micro-studies or a combination of the two.</b> Roughly, 'Chippas' of Rajasthan, 'Doria' of Chinnur (Andhra Pradesh), 'Sujuni' of Bihar, and artisan and art of Bhujudi (Kachchh) have been micro-studied, while only techno-historical analysis occurs for 'Chikankari' of Lucknow, and 'Bagh' and 'Phulkari' of the Punjab.
The remaining studies are a mix of these two approaches -- embracing Kashmiri embroidery, 'Charkha' for 'Khadi', embroidery by Lambani women and an overview of embroidery as identity and empowerment. While each piece is well-written, no special explanation is offered for the differential treatment; perhaps, it was best left to each individual author as a matter of convenience.
<b>As has been said in a different context, what is covered here is interesting, but what has been left out is vital. The rest of Indian textile has been given a go-by. </b>For North-East India, where every woman is a skilled craftsperson and every tribe has its distinctive textiles, the omission is glaring. Thus, the shawls of Naga tribes, 'Gamochha' of Assam, 'Phanek' of Manipur, shawls of Meghalaya and shawl-like wrapping-skirts of Mizoram are conspicuously absent. West Bengal's 'Kantha' finds a stray mention, but its picturesque 'Nakshi Kantha' variety does not figure here.
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<!--QuoteBegin-->QUOTE<!--QuoteEBegin-->Weaving history of Indian textiles
Utpal K Banerjee
<b>Threads & Voices: Behind the Indian Textile Tradition, Laila Tyabji (ed), Marg Publications, Rs 2500</b>
It must be stated at the outset that the book under review is related to the enormously meaningful work that the noted organisation Dastkar has been doing in the Indian crafts world in general and in the arena of textiles in particular. It is, however, by no means a comprehensive portrayal of Indian textiles, as the name of the tome might suggest.
This is, however, not to diminish the value of the issues examined in the collection of essays compiled here, which covers, as the blurb claims, "the learning process that went into the making of both craftspeople and intervention agencies; the cultural importance to the craftspeople of the motifs and designs they use; how designs and products have changed with changing markets and lifestyles; how far technology has changed crafts and working conditions; and the conflict in craft today between economics and tradition, fashion and creativity. For most craftspeople, their craft is hard economics; it is encouraging and moving that for many, it also remains art".
<b>Established in 1981, Dastkar tries to promote craft as a socio-cultural and economic force that, despite being marginalised due to urbanisation and industrialisation, has enormous strength and potential.</b> The objective of Dastkar's programmes is to help craftspeople, especially women, to use their own traditional craft skills as a means of employment, income generation and economic self-sufficiency. Dastkar guides this process: From identifying the skill; creating awareness of its potential in both craftsperson and consumer; developing, designing, costing and then marketing the product; and, finally, suggesting proper usages and investment of the income generated.
<b>Dastkar attempts to ensure that the end-product is competitive -- not just in its worthiness of purpose or the need of its produce, but also in cost, utility and aesthetics.</b> A consumer does not have to buy out of compassion!
<b>It is true that crafts and craftspeople have a vital role to play in contemporary India -- not just as part of its cultural and aesthetic past, but also economic future.</b> Elaben Bhatt, founder of SEWA (Self-Employed Women's Association), says regarding Dastkar's endeavours, "The organisation started the movement and gave many NGOs and craftspeople the confidence to make good crafts products and market them directly. It showed us the way and gave us direction. Today, there is consequently an all-India movement of craft as a means to sustainable employment."
The tome offers a set of sectarian studies of this process, but the momentum of the all-India movement has not been missed out. <b>The studies are, by themselves, neat and authentic -- mostly first-hand reportage. The focus is clearly on tradition in transition: Through either historical analyses or pure micro-studies or a combination of the two.</b> Roughly, 'Chippas' of Rajasthan, 'Doria' of Chinnur (Andhra Pradesh), 'Sujuni' of Bihar, and artisan and art of Bhujudi (Kachchh) have been micro-studied, while only techno-historical analysis occurs for 'Chikankari' of Lucknow, and 'Bagh' and 'Phulkari' of the Punjab.
The remaining studies are a mix of these two approaches -- embracing Kashmiri embroidery, 'Charkha' for 'Khadi', embroidery by Lambani women and an overview of embroidery as identity and empowerment. While each piece is well-written, no special explanation is offered for the differential treatment; perhaps, it was best left to each individual author as a matter of convenience.
<b>As has been said in a different context, what is covered here is interesting, but what has been left out is vital. The rest of Indian textile has been given a go-by. </b>For North-East India, where every woman is a skilled craftsperson and every tribe has its distinctive textiles, the omission is glaring. Thus, the shawls of Naga tribes, 'Gamochha' of Assam, 'Phanek' of Manipur, shawls of Meghalaya and shawl-like wrapping-skirts of Mizoram are conspicuously absent. West Bengal's 'Kantha' finds a stray mention, but its picturesque 'Nakshi Kantha' variety does not figure here.
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