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Yuri Kawanabe–weaving an Asian welcome in metal

Yuri Kawanabe 'Whirly halo neckpiece' (aluminium, silver 40 x 49 x 9 cm, 2004)

Yuri Kawanabe 'Whirly halo neckpiece' (aluminium, silver 40 x 49 x 9 cm, 2004)

Yuri Kawanabe constructing her work

Yuri Kawanabe constructing her work

I have always been fascinated by ceremonial displays of decorations handcrafted as though by magic. In my childhood, growing up in suburban Tokyo in the 1960s, I could still witness with excitement seasonal festivities with traditional decorations made from perishable materials like paper, straw, bamboo and other fresh plants. Over the years I have recognized that the aesthetic that I have been seeking through my art was actually rooted in these ephemeral creations.

In recent years, I have travelled to various regions in Asia and the Pacific including Tonga, Bali, China, Burma, Thailand, Vietnam, and India. There, I have encountered many ephemeral decorations made by locals for religious and seasonal occasions. I found a strong similarity to my own designs in those often modest, but meticulously crafted, ornaments. It is great to know that the skills to make these kinds of decorations have been passed from generation to generation and still survive today.

Ephemeral materials symbolically present a short-lived beauty of youth, purity and devotion. Fresh materials in vivid colours also retain (and conceal) tensions in their own forms. Thus in the early days (or hours) of a display, these perishable ornaments keep their strength within and make a striking impact on their viewers.

Yuri Kawanabe's photo from Bundi

Yuri Kawanabe's photo from Bundi

Intense contrasting colours dazzled me everywhere in India. At weddings, and in Hindu temples and festivals, everything and everyone seems to dress in almost iridescent hues. They look astonishingly beautiful and lively. The desire to adorn using the bright colours has been commonplace in many cultures worldwide, but no other culture than India seems to have such an eagerness to open the floodgates of colour.

I made the “Garland” series of anodised aluminium jewellery after an artist-in-residence stay in India. It was my attempt to generate a sort of visual “magnetism” by activating a field using bright contrasting colours. As in depictions of various idols, which are glorified with bright halos around them, the “Whirly Halo” neckpiece is designed to circle around a wearer’s head.

In a small northern town called Bundi, I was one of a few lucky tourists who happened to be there on the day of town’s annual festival. As a guest invited to the ceremony at the start of procession, I was presented with a beautiful garland. When the soft, fragrant string of flowers was placed around my neck by a young girl, I suddenly realised how honoured I felt. It was a gesture of welcome.

Yuri Kawanabe was born in Tokyo and completed a Master of Arts in ‘chokin’ (metalwork) at Tokyo University of Fine Arts. She moved to Australia in 1987, but retains strong ties to Japan and is involved in many exchange projects. Her works have been collected by museums including the National Museum of Modern Art, Tokyo, the Powerhouse Museum, Sydney, and Queensland Art Gallery, Brisbane.

Yuri Kawanabe is a participating artist in the Welcome Signs exhibition.

Sam Tho Duong – the private made public

Sam Tho Duong

Sam Tho Duong

When Sam Tho Duong was 14 years of age his family left Vietnam and settled in Pforzheim, the jewellery capital of Germany, if not the world. Sam was intrigued by the Goldstadt (Gold City) and began to study jewellery at the Technical College for Design of Jewelry & Objects. He took up a goldsmith apprenticeship with Dr.Wellendorff and then completed a diploma of design at University of Design, Pforzheim. Since he started as a freelance designer in 2002, he has shown his work in dozens of exhibitions, including six solo shows throughout Europe. In 2009 he won the prestigious Herbert-Hofmann-Prize for contemporary jewellery.

For Welcome Signs, he has contributed his work In der Ruhe Liegt die Kraft (In Silence lies Power). These include three ‘garlands’ modelled on traditional floral neckwreaths but made of toilet paper. The garlands are constructed by cutting white and yellow toilet paper into strips and rolling each piece in his fingers. These ‘paper pearls’ are then threaded on a steel string for permanence.

For Sam, the work reflects on the importance of the rest room as a sanctuary in our day. As modern people we depend on the regular supply of a material of which we remain silent, toilet paper, which Sam describes as ‘clean, soft and reliable. It deserves more than been flushed down the toilet.’

The contemporary jewellery movement has been largely defined as a challenge to traditional notions of preciousness. They sought to give value to jewellery not in the materials but through the ideas. Plastic could be just as beautiful  as gold, if designed with skill and imagination. This modernist challenge continues in Sam’s work, though he adds a critical edge in using a material that we normally keep out of sight.

So can we imagine a work like Sam’s ever being used as a welcome garland? Usually these garlands are made of material in public use, like flowers, money or confectionary. Can they be made from a material associated with private space? Or does their intrinsic beauty transcend all negative associations?

Sam Tho Duong 'Sanf & Sicher' (toiletpaper)

Sam Tho Duong 'Sanf & Sicher' (toiletpaper)

Sam Tho Duong 'Sanf & Sicher' (toiletpaper)

Sam Tho Duong 'Sanf & Sicher' (toiletpaper)

Sam Tho Duong is a participant in the Welcome Signs exhibition

Yu-Fang Chi – every body has a silver lining

Yu-Fang Chi 'Laced with lace'

Yu-Fang Chi 'Laced with lace'

Yu-Fang Chi

Yu-Fang Chi

Yu-Fang Chi is a Taiwanese jeweller who studied metalsmithing at the Tainan National University of The Arts. She has been represented in a number of international exhibitions, including Schmuck and Talente, Korea and Japan. She is currently a lecturer in the Department of Art and Design, National Hsinchu University of Education.

Her series ‘Laced with Lace’ involves delicate silverwork that forms organic like patterns that drape over parts of the body. Chi’s work explores the space between the body and jewellery by creating work that does not obviously attach to the body as a foreign object. Her work follows the natural contours of the body as though it patterns the skin itself.

Chi’s work reflects an experimentation with form and content, applying a technique associated with needlework to metalsmithing. The result has the kind of easeful grace that we might associated with the floral garland. But its ephemerality is also a challenge. Like the traditional garland, does the fragility of this lace work limit its durability?

Chi reflects on the work in her own words:

In contrast to classical lace, objects in the “Laced with Lace” series do not have dyed or inlaid borders surrounding a central body of work. Rather these pieces are a natural extension of closeness, radiating outwards from spaces and holes at the corners and seams, following the joints and hugging the body. Through this light and fine “layer” the physical form is part of an intriguing mixture – actively “wearing” and passively being “embraced.” Without a central motif, the objects are partial forms that can be used to reflect on the past, similar to the interrelationship of the skin and the organs, alluding to the certain area of the body. – Shoulders? Wrists? Chest? Posterior? The light, mobile nature of the lace skin evolves from being merely a display, into something that is glimmering and alluring. Viewers focus on and are soon lost in the complex and difficult to understand lattice work, with no single thing on which to focus or reflect. The soaring, extending pattern causes one’s line of vision to move rapidly. Within this flattened visual experience, patterns, totems and messages are removed for a more visually stunning effect without feeling or name.

Yu-Fang Chi 'Laced with lace'

Yu-Fang Chi 'Laced with lace'

Yu-Fang Chi is one of the participating artists in the Welcome Signs exhibition

Vinit Koosolmanomai – jewellery for the blind

Vinit Koosolmanomai

Vinit Koosolmanomai

Vinit Koosolmanomai studied jewellery at the Asian Institute of Gemological Sciences, in Bangkok. He then travelled to San Francisco where he took specialist workshops at the Revere Academy of Jewelry Art.

For Welcome Signs, Vinit has produced a series of necklaces that are designed to be worn by blind people. For this, he has focused on the quality of sound – a dimension not often considered in jewellery. He has created necklaces made from tiny bells of many colours woven together.

The idea came to him while playing with bells in his studio. To realise the project, Vinit worked with an organisation for the blind called Kow-Mai, which means ‘new step’. Photographs of blind people wearing the necklaces were taken by his associated Pichai. The necklaces are then exhibited alongside the photographs and all money from sales is returned to the organisation. According to Vinit, the participants enjoyed the sounds of the necklace greatly, but also wanted information about how they looked as well, even if this wasn’t something they could experience directly.

According to Vinit, ‘the important thing is to let them know that people still care about them.’ In the context of Welcome Signs, Vinit’s work asks the interesting question of how we make welcome those who can never fully belong to the same world.

In Thai culture, the phuang malai is a floral garland that symbolises beauty and respect. While blind persons can smell the jasmine scent, they are unable to enjoy its visual beauty. Vinit has given a new dimension to the garland with the addition of sound. It also makes us ask some important questions:

  • What is the ongoing role of the participants? We get to see images of them wearing the work, but what do they get from us?

Vinit provides a broader audience with a taste of the new contemporary jewellery emerging from Thailand. If Vinit’s work is anything to go by, then we might expect new work that approaches jewellery from left field, probing its shared value. According to Vinit; ‘My interest in jewellery comes from my surprise that people would like to wear jewellery. In some cases, they have to experience pain before they can wear jewellery.’ Thai jewellery is bound to surprise.

For more contemporary Thai jewellery, visit Atta Gallery.

Vinit Koosolmanomai jewellery worn by participants in his project

Vinit Koosolmanomai jewellery worn by participants in his project

Vinit Koosolmanomai’s work will be on display in Welcome Signs: Contemporary Interpretations of the Garland.

A Sumba welcome–by Fryza Pavitta

Sumbanese Contemporary Narrative Jewellery by Fryza Pavitta

Sumbanese Contemporary Narrative Jewellery by Fryza Pavitta

Fryza Pavitta is an Indonesian jewellery designer currently based in Jakarta. She was born in Samarinda, East Kalimantan. She studied Industrial Design at Bandung Institute of Technology, where she developed a number of jewellery pieces including Zapp, which was a knife turned into a necklace.

She also developed a work of ‘distributed jewellery’ titled Sumbanese Contemporary Narrative Jewellery. The work includes symbols from Sumba culture about mythological forces of earth and sky. According to Fryza:

For Sumbanese, the sky is filled with ‘star dust’, made from souls of ancestors that look down on the living, offering rain as a blessing. This is represented by the silver chain. The earth is a female figure, represented in the U shape of a bowl, filled by the rain. On this are various shapes including living creatures and the omega symbol of woman. Finally there is the level of the sea, which represents potential loss.

Women’s activity is particularly important in this mythology. The weaving of the tenun ikat is symbolic of the string that ties the earth and sky together.

The piece itself is strung together. Components can be detached. The piece is designed to be distributed among others.

Since graduating from Bandung, Fryza worked for several months in Geoti Studio, designing sculptural objects from an ashtray to a city park. With others, she has also shown work about the wedding ring and the hand gestures of a married couple.

Back in Jakarta, she now works for the industrial designer Leonard Theosabrata. She plans to continue with jewellery.

This work will feature in the Welcome Signs exhibition. It’s an interesting example of how the jewellery object can carry a story that connects people together. We can only imagine the very special situation in which it is used and the continuing connection that its owners will experience.

Yayasan Tafean Pah – supporting weavers in West Timor by Ibu Yovita Meta and Ruth Hadlow

News of a valuable new initiative from West Timor that deserves our support:

The weaving traditions in West Timor are very diverse and very beautiful, consisting of hand-made cloth woven on back-strap looms, sometimes still using handspun thread and natural plant dyes. The textiles are woven by village women amongst other activities such as growing crops, caring for livestock, social, domestic and family duties. Weaving skills are passed down from one generation to the next, with most women learning from their mothers, aunties or grandmothers. Traditional hand-woven textiles are still used as garments by many West Timorese for formal and ceremonial occasions, and textiles are still required as tribute for funerals, as part of the bride-wealth exchange in marriage agreements, and for other adat (traditional customary law) ceremonies. Despite this, the weaving traditions are fragile and vulnerable to changes in contemporary life, as the younger generations move away from villages, or become less interested in traditional textiles and the time-consuming techniques of hand-weaving.

Background & Context

West Timor is the western half of the island of Timor, which was colonized and divided by the Dutch and Portugese during the colonial period. West Timor became part of the Republic of Indonesia when it was formed in 1945 as a reaction to Dutch colonial rule. Within Indonesia, the eastern islands (West Timor, Sumba, Flores, Alor, Rote and Savu) are the poorest part of this developing country. The islands of East Nusa Tenggara, or NTT as it is called locally, are much drier and less fertile than those of western Indonesia, and very similar to northern Australia in their climate, geology and vegetation. The island of Timor is predominantly limestone, and does not have the rich volcanic soils of Bali or Java. It has a very long dry season, from April to late November, and is hot and extremely dry for most of the year. The latter part of the dry season is traditionally known as musim kelaparan, or the starvation season, as the only foods available for most villagers are the corn and cassava they have stored from the end of the harvest period. Life for most villagers is very tough and means of generating income are very limited. Many village children do not go beyond a primary school education as their families do not have the resources to support further study. Since the late 1990’s life has been increasingly difficult for the West Timorese, due to a series of factors such as the Indonesian Monetary Crisis in 1997, a rise in the cost of living of more than 500 per cent over the past 10 years, and the withdrawal of aid projects and organisations in the wake of East Timor’s independence in 1999. There is a general lack of knowledge about West Timor caused in part by the attention to East Timor in the news media, and this often makes it difficult for organisations to get external funding or support for their activities.

Yayasan Tafean Pah

Ibu Yovita Meta

Ibu Yovita Meta

Ibu Yovita Meta began the foundation Yayasan Tafean Pah in 1989, working with a small group of weavers from the dry and mountainous Biboki region of northern West Timor. YTP has grown substantially over the past 20 years; it now has a base in the northern town of Kefamenanu and 14 weaving cooperatives with a total of 700 members, spread over the Biboki, Insana and Miomafo regions of TTU (North Central Timor). Yayasan Tafean Pah supports the weaving cooperatives by providing access to thread and dyes, and training in weaving, dyeing and design skills. The foundation also provides cooperative management and basic accountancy training, and very importantly, provides an outlet and market for the beautiful hand-woven textiles which the weavers produce.

In 2003, Ibu Yovita won the prestigious Prince Claus Award for Culture and Development (awarded by the Netherlands government) for the work she has done with Yayasan Tafean Pah. The award was used to develop the Rumah Seni Tafean Pah in Kefamenanu, a cultural centre which includes the YTP office, a multi-functional work space, and a gallery/shop outlet for the textiles and associated products made by the weavers. In 2007, Yayasan Tafean Pah received a grant from the Dutch Embassy in Jakarta specifically for the purpose of creating a collection of traditional hand-woven Biboki textiles. This collection is intended as a permanent resource for the community, ensuring that examples of the techniques, motifs, designs and textile forms unique to Biboki hand-woven textiles are held in West Timor, rather than only in the collections of distant or foreign museums. The textiles which make up the collection were commissioned directly from weavers in the YTP cooperatives, supporting them financially and increasing their sense of pride in their work.

Textiles produced by the weaving cooperatives reflect the traditions which have existed for countless generations in these regions. Some of the weavers specialise in textiles made with hand-spun thread and dyed with traditional natural dyes, such as the rich reddish-brown Morinda Citrifolia, the deep blues of Indigofera Tinctora, and blacks from iron-rich mud. Other weavers use machine-spun thread to create lighter-weight textiles which can be made up into smaller items such as bags and clothing. YTP sells the textiles through its base of the Biboki Arts Centre in Kefamenanu, and through trade fairs and exhibitions in Jakarta and Singapore. With the support of the Museum and Art Gallery of the Northern Territory there have also been several exhibitions of Biboki textiles from Yayasan Tafean Pah in Darwin.

The aims of Yayasan Tafean Pah are to ensure that traditional weaving and dyeing skills are sustained, and to support village women to develop economically through their weaving skills. In a culture such as that of West Timor, a woman’s status and standing within a village community increases significantly when her weaving contributes to the family’s economy. One of the YTP cooperatives is comprised predominantly of widows, and most of these women have put their children through senior high school and university on income derived from their weaving activity. Due to the success of its existing cooperatives, YTP is continuously requested to take on new groups, some of which have little prior weaving or dyeing knowledge. Although this is a huge burden on the organisation, it also indicates the potential for a remarkable revival and continuation of skills and traditions.

Friends of Yayasan Tafean Pah

Yayasan Tafean Pah has no continuous funding and relies on sales of textiles to support its ongoing activities. Any new initiatives require external funding as the foundation survives on a day to day basis due to the unpredictable nature of selling textiles. Because of the difficulties of this situation we have decided to begin a support project called Friends of Yayasan Tafean Pah. Through an informal network of email lists we will regularly send out information about specific projects and activities which YTP wishes to seek funding for. A data base has been set up to record information about all donations and ensure transparency. Friends of Yayasan Tafean Pah has been created by Ibu Yovita Meta and Ruth Hadlow with the intention of helping YTP to source funding through Australian textile networks and other interested parties. Ruth Hadlow is an Australian artist who has been resident in West Timor since 2001. From 2005-2009, Ruth and her Timorese husband Willy Daos Kadati ran Babes in Timor/Mepu Mfe Fafi, a small aid project dedicated to supporting the West Timorese community through donations of piglets from Australian sponsors. Ruth Hadlow and Willy Daos Kadati run textile and cultural tours to West Timor and other parts of eastern Indonesia, and have had a close relationship with Yayasan Tafean Pah for a number of years.

If you would like to become a member of Friends of Yayasan Tafean Pah, you can contact us directly, or simply continue to receive our emails and respond as you wish to the various projects. If you have friends or family whom you think may be interested, please pass this information on to them. If you do not wish to receive emails from Friends of Yayasan Tafean Pah, please let us know and we will take your address out of the email list.

YTP project: Training Young Weavers

Yayasan Tafean Pah plans to begin a training program in the latter part of 2010, with the aim of training young women in weaving skills. There are 4 main weaving techniques used in the TTU region of West Timor: futus (warp ikat), sotis (float or pickup warp), buna and pa’uf (discontinuous supplementary weft techniques). Each of the techniques is slow and time-consuming, requiring patience and attention to detail. The majority of weavers in West Timor are older women, a matter for some concern as the weaving traditions could disappear within a couple of generations if younger women do not take up weaving. Due to the success of the existing YTP weaving cooperatives, it has become visible to the broader West Timorese community that woven textiles can provide a useful source of income. This provides a good incentive for encouraging young women to learn weaving skills as a realistic alternative to other types of income-generating work which require them to leave their villages.

Yayasan Tafean Pah intends to start the training program with groups of 10—15 young women who will be paired with experienced weavers, either in their village setting, or at the YTP Centre in Kefamenanu. The young women will begin by learning basic weaving skills, and also, if they choose, they can learn to hand-spin cotton with a drop spindle (a difficult process if you didn’t start at age 5, as some of you know!). If the young women already have some basic weaving skills, they will be trained in more complex techniques such as buna, pa’uf or sotis to increase their skill base.

The training will take the form of 5-day intensive programs, after which time the young weavers will be encouraged to continue their work independently, and the results will be assessed by YTP once the woven textiles are finished. If they require or request further training, they can undergo a second stage of training to increase their weaving skills, or begin producing textiles under the supervision of a YTP weaving cooperative. In the long term it is hoped that the young weavers might start new weaving cooperatives or join existing ones, as a means of developing and marketing their work.

In order to run the training program, funding is needed to cover the costs of transport, food, and wages for the weaving teachers, who will give up their own weaving time to train the young women. A wage also helps to acknowledge the skills and experience of the older weavers, encouraging the community to value and respect the women’s textile skills and perceive these as an important source of income. YTP is hoping to take on between 60-100 young women in the training program at the first stage, making this quite a large and ambitious project which is intended to have a major effect on the survival of the weaving traditions in the TTU region of West Timor.

If you are interested in supporting Yayasan Tafean Pah in this program of training young weavers, please use the form on the following page to make a donation.

We would like to thank you for your interest in the activities of Yayasan Tafean Pah. If you visit West Timor and can come as far as Kefamenanu, we would love to meet you and introduce you to some of the weavers you have generously supported.

Many thanks and best wishes,

Ibu Yovita Meta & Ruth Hadlow
Kefamenanu, West Timor


To contribute to this valuable project, please contact Ruth Hadlow at friendsofytp@yahoo.com

Welcome Signs – early notice

Var mala exchange of garlands at Indian wedding (photo by k♥money on Creative Commons license)

Var mala exchange of garlands at Indian wedding (photo by k♥money on Creative Commons license)

Var mala exchange of garlands at Indian wedding (photo by k♥money on Creative Commons license)

Early notice of an exhibition of jewellery from the Asia Pacific region

The World Craft Council are hosting a conference in New Delhi, 4-6 February 2011. The event is titled Abhushan: Tradition & Design – Dialogues for the 21st Century. A key element in this event is a series of exhibitions surveying jewellery from different world regions.

For the Asia Pacific region, works will be gathered that respond to the theme of welcome, using the garland as a reference. These garlands are typically given to honoured guests and are either made of flowers or have a floral design.

At a time when there are tensions regarding global migration flows, it seems important that we sustain traditions of welcome. But given limited access to flowers, are there alternative materials that can be used? Also, can these otherwise ephemeral works be transformed into longer-lasting objects, such as jewellery, that can testify to bonds of friendship.

The Asia Pacific region has a rich set of traditions that bestow a garland or neck-wreath. These include:

  • var mala ceremony in Indian weddings
  • phuang malai Thai garland
  • East Timorese tais
  • salusalu welcome wreaths and leis from the Pacific
  • selendang (welcome) in Indonesia
  • medals in Australasia

The exhibition Welcome Signs: contemporary interpretations of traditional garlands will contain works that draw from such traditions for use today. At early this stage, expressions of interest are welcome. Please send them by 30 June 2010 to welcome@craftunbound.net.

Authentic punk, handmade with attitude in Indonesia

image

image

Danius Kesminas embodies some of the wilder energies of the Australian cultural scene. The tireless Melbourne artist is very much embedded in the art world – his exhibitions in a cutting edge commercial art gallery quote from modernist art history. Yet Kesminas’ work is far from pretentious: his many projects set about attacking art’s elitism by popularising its most privileged secrets. His weapon of choice is rock music, particularly Punk. His band Histrionics perform songs about revered contemporary artists, like the Thai relational artist Rirkrit Tiravanija who transforms galleries into restaurants. The lyrics follow a familiar tune: ‘I don’t like Rirkrit, no, no / I love him, yeah /I don’t like your bean curd / Don’t mean no disrespect / I don’t like your tofu / If this dish is an art object.’

Kesminas shares a Lithuanian background with the founder of the Fluxus movement, George Maciunas. He acknowledges Fluxus in the project Vodka Sans Frontières, which traces an illegal vodka pipeline that travelled under Maciunas’ house in Vilnius. But in a different way, Kesminas’ work also seems quite at home in an egalitarian country like Australia, where the elitist authority of global visual arts has relatively little purchase.

So we might be surprised to learn that Kesminas has commissioned work from traditional Indonesian artisans. This would seem exactly like the kind of naive ‘politically correct’ art world project he would make the target of his satire. Despite its seeming worthiness, Kesminas has been able to develop an anarchic mode of collaboration which challenges our understanding of what it is to work with artisans.

At the end of 2005, Kesminas arrived in Jogjakarta for a three month Asialink residency. His only preparation for the new culture was reading a book, The Politics of Indonesia, by Damien Kingsbury. It was a dense read, filled with acronyms. Despite their inscrutability, these acronyms would later end up being an important creative resource.

Soon after he arrived, Kesminas started hanging out at the local art school. There he found a familiar scene of young rebels playing aggressive rock music. So he decided to form a band of his own and went about recruiting musicians, with immediate success. As Kesminas didn’t speak any Indonesian, they created lyrics together that were inspired by the acronyms he had read. Fortuitously, this method corresponded with a local word game plesatan, which sends up official language. For example, the song TNI is based on the acronym that stands for Tentara Nasional Indonesia (Indonesian National Military) but which is sung as Tikyan Ning Idab-Idabi (Poor but Adorable). In a similar vein, the band adopted the title Punkasila, which is drawn from the concept pancasila, the official five ideological tenets of Indonesian nationalism.

Danius Kesminas with locals celebrating the carving of the Punkasila emblem (photograph supplied by artist)

Danius Kesminas with locals celebrating the carving of the Punkasila emblem (photograph supplied by artist)

Danius Kesminas with locals celebrating the carving of the Punkasila emblem (photograph supplied by artist)

Local involvement in Punkasila expanded rapidly. A batik artist produced the band uniform in military camouflage. A wood artisan carved elaborate machine-gun electric guitars from mahogany. Others produced t-shirts, stickers, videos, etc. Much of this was well beyond Kesminas’ control, but this was exactly as he wanted it – ‘you’re a catalyst lighting this wick.’

Like many foreign artists, Kesminas enjoyed the freedom to make art in Indonesia. He contrasted this with the situation in a country like Australia where everything has to be paid for – ‘over there it’s different. You just do things because you do them.’

Artisan designing machine gun guitar with skeptical mother (photograph supplied by artist)

Artisan designing machine gun guitar with skeptical mother (photograph supplied by artist)

Artisan designing machine gun guitar with skeptical mother (photograph supplied by artist)

Given the role of the military in Indonesian life, Kesminas was afraid their provocative repertoire would endanger his collaborators. He claimed that he ‘always had to defer to them for limits. We never did anything they didn’t want to do.’ Yet at the same time, he recognised that his role as an outsider was critical: ‘There was a nice unspoken agreement. I gave them a kind of cover, as a naïve Westerner.’ It’s hard to tell who is using who in this situation. Even though punk is an identifiably Western popular movement, Kesminas associates it more broadly with a DIY principle of cultural independence. Like the paraphernalia that was locally made for Punkasila, it represents self-sufficiency in culture and defies a reliance on imported readymade products.

For Kesminas, the most significant complaint against Punkasila came from ‘NGO do-gooder missionary types’ who thought he was showing disrespect for Indonesian culture. Kesminas would claim that he actually more respectful by following the authentically carnivalesque nature of Indonesian street culture. According to this line, what we normally associate with Indonesian traditions, such as Wayang, is just a cultural commodity sustained for Western tourists. The real life is on the street.

There’s plenty to suspect Kesminas of. ‘So he likes the fact that they don’t have to be paid! But, hey, doesn’t he end up marketing their product in his exhibitions back in Australia?’ This line of interrogation seems to be missing the point, and indeed play into the very stereotype of political correctness that Kesminas’ satirises. As far as I know, the work based on Punkasila has not sold. In the meantime, Kesminas raised money for his fellow band members to participate in the Havana Biennale, which profiled them on an international stage. Sure, it all contributes to his cultural capital, but compared to other artists who use artisans like Jeff Koons, it’s relatively high on the scale of collaboration.

Indeed, there’s something quite refreshing about Punkasila. It makes us re-consider whether work with artisans must only be in forms that they are familiar with. It adds a pinch salt to our sanctimony and a dash of chili in our philanthropy.

Danius Kesminas with fellow Punkasila band members in Havana, Cuba (supplied by artist)

Danius Kesminas with fellow Punkasila band members in Havana, Cuba (supplied by artist)

Danius Kesminas with fellow Punkasila band members in Havana, Cuba (supplied by artist)

But in the long run, there may be problems. While an important detour from cultural conservatism, we need to admit a certain guilty pleasure in Punkasila. It shows an image of Indonesian society that reflects back our familiar ideology of Western individualism. In the spirit of good ol’ rock’n roll, we have a natural tendency to champion those individuals who defy authority. We join them in solidarity against local leaders – the patriarchs, warlords and ‘tin pot dictators’.

But who are these foot solders really fighting for in the long term? We need to think of the broader context. Countries like Indonesia face significant pressures from overseas companies to ‘open up’ for ‘development’. So why should the polygamous village elder stop you from selling your land to Monsanto? Who’s the fat old chief to say you can’t sign away royalties for your village’s traditional chant? While rock’n roll is great for breaking things down, such as a military regime, it’s not disposed to building new structures.

Thank god that Kesminas has finally let the cat out of the bag. But the mice better to get organised.

The latest gossip about Gup Shup in Pakistan

Here’s some news from the Gup Shup project in Pakistan (‘gup shup’ refers to the gossip that happens around cups of tea).

Winter has truly arrived, and the Chitral valley is surrounded with the snow-covered peaks of the Hindukush. In this cold weather, the women gather around the fire, chit-chatting and embroidering. Somehow, Israr and his team from MOGH Ltd (our local partners) miraculously manage to get us the textiles across the Lowari Pass (3200m altitude). Sometimes by air, sometimes through the new tunnel, sometimes across the icy mountains. So if you have had to wait for a bag you are coveting, there are very good reasons!

Pot Swap

Pot Swap

Pot Swap

Zaibonda sold ‘Pot-Swap’ on the opening night of the ‘Gup Shup’ exhibition at the National Art Gallery (NAG), in Islamabad on International Women’s Day 2009. Using part of the money from the sale, her son Sajjid started his commerce degree at the Commerce College in Chitral. He had initially wanted to go to Peshawar, but the tense security situation in the city kept him up-country, close to his family.

Handbag

Handbag

The ‘Pot-Swap’ bags remain popular. As one key supporter, who carries ‘Pot Swap’ on a daily basis, emotionally exclaimed “I feel such a connection to the woman who created this bag!”.

And other news – Naseema (one of the artisans responsible for the creation and embroidery of the lovely ‘Mantlepiece’, ‘Mehndi’, ‘Calender’ and ‘Harvest’ textiles) had her own mehndi in October. She is happily working as the warden of a nurses’ hostel in Chitral town, living with her husband, and occasionally travelling the 6 hours even further north to her husband’s village.

Though the crops were harvested in October ‘Gup Shup’ continues to bear fruit. Some news from across the globe:

Gup Shup Exhibitions

Following the success of the textile exhibitions in Islamabad (8th March 2009), and Karachi (28th May 2009), we are hoping to be in Lahore next … the cultural capital of Pakistan. We’ll keep you posted on the exact venue and dates when we are passing through early next year.

Drawing for 'mantlepiece'

Drawing for 'mantlepiece'

Drawing for 'Mantlepiece'

The textile ‘Mantelpiece’ recently sold, to an Islamabad resident. And ‘Ice-cream’ has found a happy home and should be landing in Dubai soon. If you are interested in a textile, please do get in touch, as there are only a handful left …

‘Gup Shup’ went international, to Polly&me’s home shores of Australia at Craft Victoria in Melbourne, June 2009. Two textiles (‘Sultan the Sitar Player’, and ‘Games with Didi’) did us proud down under.

With such a multitude of loyal supporters in Dubai, we are eager to bring the ‘Gup Shup’ textiles with all the narratives and the endless cup of chai to Dubai, March 2010 – watch this space!

Do you want to know more? Email Ange at info@pollyandme.com

Proudly Produced in Pakistan!

Craft out of the cage – Wanda Gillespie’s marvellous discoveries

Wanda Gillespie is an Australian artist who discovered the Indonesian craft of bird cages during a residency with Asialink. While there she worked with the artisans to create a series of works based on the fictional scenario of an island that exists only in her imagination (and the now the art gallery).

This island of Swi Gunting is the scene of some remarkable discoveries. Included this very early versions of the scissor-lift (see below)…

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You can find out more from her website. You can also see a short film about her stay in Indonesia and work with the artisans here. Or if you are in Melbourne, you can see it at SEVENTH Gallery, 155 Gertrude Street Fitzroy, 3-21 November.

In her invitation, she credits the work thus:

This was a collaborative project with craftsmen from Jatiwangi West Java. Project managers Anex (Nana Sukarna) and Kwa Ping Ho, and craftsmen – Didi, Tata, Ugang, Endany, Entis, Uri, Wawan, Umu. Special thanks to Jatiwangi Art Factory, Arief Yudi, Loranita Theo and Umi Luthfi.

This project was made possible with the help of Jatiwangi Arts Factory, Arts Victoria’s Cultural Exchange fund and the Anthony Ganim Postgraduate Award, (Victorian College of the Arts)

It’s another example of the very creative collaboration developing between Australian artists and Indonesian carvers. Maybe it’s time for a joint exhibition…