Designers meet artisans

164 Pages·2006·13.54 MB·English

Designers M e et
Artisans
A Practical Guide
Craft
Revival
Trust
Published jointly by the Craft Revival Trust, Artesanías de Colombia SA. and UNESCO.
The designations employed and the presentation of material throughout this publication do not imply
the expression of any opinion whatsoever on the part of the Craft Revival Trust, Artesanías de Colombia
S.A. and UNESCO concerning the legal status of any country, territory, city or area or of its authorities, or
boundaries.
Published in 2005 by
Craft Revival Trust
1/1 Khirki Village
Malviva Nagar
New Delhi 110017
India
Email: [email protected]
Web: www.craftrevival.org
Artesanías de Colombia SA
Carrera 3 No. 18A-58
Bogotá, D.C.
Colombia
Email: [email protected]
Web: www.artesaniasdecolombia.com.co
United Nations Educational Scientific and Cultural Organisation
7, place de Fontenoy
75352 Paris 07 SP
France
Email: [email protected]
Web: www.unesco.org
CLT/ACE/ACD-05/10
© Craft Revival Trust / Artesanías de Colombia SA / UNESCO 2005
Designed by FACET Design.
Printed in New Delhi, India
Foreword
fl^m|%e guru of the 'global village' concept, culture itself and from the imagination and
:4;ÍAs/Í|arshall McLuhan, predicted in 1966 skills of creative artisans.
^piinat 'in the future, the role of the
Hence the concerns expressed, across all
craftsman will be more important than ever
geographical borders, by craft promoters and
before'.
organizations for closer links between design
Four decades later, there are some interest ers and artisans. Given the communication
ing signs sustaining this forecast: the grow gap between producers and consumers, the
ing awareness by the public and private sec designer is seen as an indispensable inter
tors as well as regional and international mediate, a 'bridge' between the artisan's
cooperation agencies of the dual role of crafts know-how and his knowledge of what to
in their blending of traditional skills and make. Innovative approaches to crafts can
modern creativity, and in their economic and no doubt be triggered off by the introduction
socio-cultural impact on sustainable devel of design in various aspects, for example as
opment; and the increasing preference of regards the choice of alternative materials
the public for eco-friendly, handmade, qual and appropriate technologies or the defini
ity products" and the greater recognition of tion of new product lines.
the very qualities that we take for granted in
However, if design intervention in crafts is
crafts—qualities of timelessness and perma
most welcomed by some as a necessity (the
nence, the adaptability of artisans and their
mother of invention, according to the old
materials to changing needs, and, above all,
saying), and an opportunity for new pros
the spiritual dimension of crafts. These
pects, it is often considered by others as a
favourable trends are, nevertheless, counter
threat. The reduction of the artisan's role to
balanced by some disturbing contradictions.
that of a mere producer subservient to the
In today's 'global village', the artisan is, para designer's influence, and the lack of
doxically, more and more disconnected from reference to the cultural context in products
consumer needs and tastes. With the exten designed for an alien, volatile market, are
sion of markets and the spectacular growth among the commonly expressed concerns.
of tourism, the traditional direct, personal What is the nature of the loss and/or gain
contact between makers and users has been in the adaptation to market forces? How to
disrupted. The artisan can no longer assume, adapt and/or modify existing products or cre
as in the past, the combined role of a de ate new products from local design
signer, producer, and marketer. motifs without obliterating traditions? Can
there be a well-balanced and mutually ben
Another global paradox is the increasing exi
eficial interaction between designers and ar
gency of the consumer: the more choices, the
tisans?
more discrimination in choice. There is a
growing market seeking out the unique and This book aims to address these issues in an
the authentic, the benchmark for authentic objective manner and clarify the scope, pro
ity being what is true to the artisan's cultural cesses, and modalities of a proper design
heritage. Globalization and the homoge intervention in crafts. Its originality lies in a
neous products that have resulted from cor dual presentation of the experiences of two
porations developing global brands have, countries—Colombia and India—which
indeed, created a niche for creativity, inno have a particularly rich craft tradition; it of
vation, and uniqueness. In this context, there fers significant case studies at two distinct
is an increasing demand for well-applied levels, that of design students and of profes
design, much of which comes from the local sional designers respectively. In the light of
converging lessons learned on the develop by Artesanías de Colombia is the opportu
ment of effective partnerships between de nity offered to artisans to demonstrate their
signers and artisans, guidelines are proposed know-how in developing new products,
that can be relevant and applicable to a broad which are distinguished both in the local and
spectrum of the crafts sector worldwide. international markets because they repre
sent a living craft tradition with a high design
A large part of this publication is devoted to
content.
craft exposure courses in the curriculum of
design students' academic programme. In Besides contributing to a strongly felt need
deed, to ensure the success of long-term in in various geographical regions, Designers
teractions, it is indispensable to first develop Meet Artisans complements UNESCO's initia
a meaningful alliance between design and tives during the past decades to provide de
crafts in formal training institutions. This cision makers and craft professionals in the
approach is strikingly in harmony with that member states with working tools for the
of the founder of the Bauhaus, Walter advancement of the crafts sector. This practi
Gropius, who believed that the best training cal guide is thus related to the previous ones,
for a young designer should include courses Data Collection on Crafts (1990) and Interna
to free his individual creative ability and give tional Craft Trade Fairs (2001) respectively,
him a knowledge of a range of materials— since any correct design intervention must
stone, clay, glass, wool, wood, metal, and be based on data collection, both quantita
paper—for exploring three-dimensional tive and qualitative, and must have meaning
forms easily. Beyond the necessary exposure in the marketplace. As Patrick Ela, Director of
to the medium used by artisans and to their the Los Angeles Craft and Folk Art Museum,
environment, the selected case studies in dif once rightly pointed out, 'Craftspeople create
ferent regions of India illustrate how inter because they need to create; like all of us, they
esting ideas and new intervention models must eat. To overlook the inescapable need for
can be developed for several purposes, economic development as well as technical
whether for revitalizing a languishing craft and artistic development would be naive.'
or for developing new products to create live
It is therefore within UNESCO's global ap
lihoods.
proach to the cultural and socio-economic
In the same spirit, the case studies from the role of crafts that this book is proposed as a
Colombian Design Laboratory provide re working tool for decision makers, artisans,
flections and strategies for innovation in dif designers and design institutes, and craft
ferent trades practised by artisanal commu NGOs. The ultimate aim is to help all those
nities in various regions of the country involved in the promotion of the crafts sec
through an interactive process respectful of tor ask the right questions rather than to de
their cultural identity. Crafts stem from a re liver unequivocal answers.
lationship between humans and their envi
ronment within their historical, cultural, and Indrasen Vencatachellum
social contexts. This intimate relationship UNESCO Chief,
should be understood and respected by de Section for Arts, Crafts and Design,
signers attempting to develop crafts. The Paris, France
most significant result of this experience led
Acknowledgements
Ritu Sethi, Chairperson of Craft Revival Trust, New Delhi, India
coordinated research, consolidated the work, and contributed to
the editing, printing and translation process.
Cecilia Duque Duque, Director General of Artesanias de Colombia,
Bogotá, Colombia contributed text and illustrations.
Indrasen Vencatachellum, UNESCO Chief, Section for Arts, Crafts
and Design, Paris, France provided overall guidance and
coordinated the preparation and editing of the Volume.
Designers Meet Artisans
Contents
Section I: Theoretical Issues in a Practical Debate
1.1 Interventions: The Whys 4
1.2 Interventions: Markets and Buyers 6
1.3 Interventions: Artisanal Creativity, Tradition, and Cultural Contexts 8
1.4 Interventions: Technology and Change 11
Section II: The Indian Context
2.1 Traditional Patterns of Artisanal Activity 15
2.2 Contemporary Realities at the Macro Level 16
2.3 The Crises in Indian Crafts 16
2.4 A Reassessment 18
Section III: Case Studies: The Indian Initiatives
3.1 Livelihood Restoration and Design Intervention Model: Cluster /
Multiple-Village Approach for Disaster Relief and Rehabilitation
3.1.1 Federation of Indian Chambers of Commerce & Industry (FICCI),
CARE India, and National Institute of Fashion Technology (NIFT),
New Delhi 20
3.2 Sustained Student Initiative: Bridging Product and Design Development
to Create Livelihoods
3.2.1 Weaving Peace in Bongaigaon, Assam: A Project by the
Action Northeast Trust (ANT) 37
3.2.2 Weavers of Phalodi, Rajasthan 40
3.3 Livelihood Intervention: NGOs and Designers
3.3.1 The Potters of Aruvacode, Kerala 42
3.3.2 Dastkar: A Design Interaction with Chikan Embroidery 46
3.4 NGO Design Intervention in the Revival of a Languishing Craft
3.4.1 The Embroidered Art of the Chamba Rumal 50
3.5 Interaction between Design Students and Artisans for Design and
Product Development and Long-term Design Reflection
3.5.1 Stone Craft Artisans' Workshop 53
3.5.2 Continuing Education Workshop 55
3.5.3 Sri Kalahasti Wood Carvers 58
3.6 Interaction between Design Students and Artisans for
Design and Product Development
3.6.1 Namda/Felted Floor Covering 60
3.6.2 Mojari/Ethnic Footwear Project 62
3.6.3 Tarkashi/Metal-wire Inlay on Wood 64
3.6.4 Utilitarian Products in Blue Pottery 65
3.7 Developmental and Livelihood Model of Interaction:
Community Participatory Approach
3.7.1 Jawaja-The Rural University: National Institute of Design (NID),
Ahmedabad and Indian Institute of Management (IIM), Ahmedabad 66
Designers Meet Artisans
3.8 Craft Documentation: NGOs and Design Students
3.8.1 Panipat Khes: Documentation of a Languishing Craft 76
3.8.2 Blue Pottery of Delhi: Documentation of a Languishing Craft 78
Student-Artisan Interactions and Interventions 80
Short-Term Student-Artisan Design Interface: An Analysis 81
Section IV: The Colombian Experience: The Design Laboratory
4.1 Background and Institutional Framework: Artesanías de Colombia 84
4.2 Colombian Design Laboratory: Artesanías de Colombia 85
4.3 Work Strategies
4.3.1 Technological Innovation and Improvement 86
4.3.2 Research and Product Development 86
4.3.3 Integral Growth of Human Talent 87
4.4 The Work Dynamic in die Design Laboratories 87
4.5 Methodological Tools
4.5.1 Creativity Workshops 87
4.5.2 Computer-aided Design Workshop 88
4.5.3 Design Consultancy 88
4.5.4 Specialized Counselling 89
4.5.5 Workshop Courses 89
4.5.6 Technical Assistance 89
4.5.7 Educational Tour or Mobile Workshop 89
4.5.8 Seminars 90
Section V: Case Studies - Artesanías de Colombia:
The Design Laboratory
5.1 Casa Colombiana (Colombian House) Collection 92
5.2 Case Study: Guadua (variety of bamboo native to
Colombia, Ecuador, and Venezuela) 97
5.3 Ethnic Furniture Collection: Innovation and
Improvement of Competitiveness 99
5.4 Case Study: Zenú Resguardo, San Andrés de Sotavento:
Diversification, Expansion of Product Lines, and Innovation .77 101
5.5 Case Study: Bolivar Municipality „ 102
5.6 Case Study: San Agustín Municipality 104
5.7 Case Study: National Jewellery Programme 106
Section VI: Guidelines
6.1 Creating the Framework for Intervention: Some Guidelines 114
6.1.1 Determining the Reasons for the Intervention 114
6.1.2 Selecting the Craft, Artisans, and Geographical Area 118
6.1.3 Determining a Realistic Scope for the Intervention 118
6.1.4 Selecting the Format for the Intervention 119
6.2 Pre-Field Preparation 121
6.2.1 Preparation and Orientation 121
6.2.2 Understanding the Craft and Its Context and the Environment 122
6.2.3 Understanding the Existing Processes of the Craft:
Materials, Processes, Technologies, and Practices 122
6.2.4 Understanding the Artisan 122
Designers Meet Artisans
6.2.5 Understanding the Markets 123
6.3 Craft Documentation: Some Guidelines 123
6.3.1 Preliminary Research and Documentation 124
6.4 Design Concerns 125
6.4.1 Understanding the Context and Integrating It into the
Format of the Planned Intervention 125
6.4.2 Understanding the Material and the Process 126
6.4.3 Establishing Communication 126
6.4.4 Humanizing the Interaction and Respecting the Artisan 127
6.4.5 Treating the Artisan as a Creative Partner, Not Skilled Labour 128
6.4.6 Building Skills and Capacities 128
6.4.7 Recognizing the Importance of Space and Spaces 129
6.4.8 The Need for Sustained Follow-ups 130
6.5 Product Concerns 131
6.5.1 The Need for Establishing Connections and Meanings in
Product Development 131
6.5.2 Orienting the Artisan 132
6.5.3 Developing a Product USP (Unique Selling Proposition) 133
6.5.4 Tradition and Adaptation 133
6.5.5 Dealing with Materials, Processes, and Raw Materials 133
6.5.6 Skills, Processes, and Techniques and Technology 134
6.5.7 Sustainability 134
6.5.8 Marketability, Product Semantics, and Quality 134
6.6 Regarding Markets 136
6.6.1 The Design-Marketing Interface 136
6.6.2 Some Basic Inputs 136
6.6.3 Producing for Local/Urban Markets 137
6.6.4 Producing for Export Markets 137
6.6.5 Merchandising 137
6.7 Materials and Technological Change 138
6.7.1 Some Concerns regarding Materials 138
6.7.2 Some Concerns regarding Introduction of Technological Change 138
6.7.3 Using Appropriate Technologies 139
6.7.4 Exploring the Gendered Nature of Technology 140
6.7.5 Making Technological Change Participatory and Adaptive 140
6.8 The Design Laboratory: Working Tools - Artesanías de Colombia 142
6.8.1 Planning 142
6.8.2 Research 142
6.8.3 Experimentation 142
6.8.4 Product Development 142
6.8.5 Market Testing 144
Annexures
Possible Formats for Data Collection (A, B, and C) 145
Bibliography 154
SECTION I
Theoretical Issues in a
Practical Debate