Moe Chiba opening the Visible Hand forum

Sangam – the Australia India Design Platform was launched in Melbourne on 21 July.  

During the day, RMIT Industrial Design hosted the Ethical Design Laboratory’s workshop into ethical labelling. Experts from around Australia met to develop a set of standards for creative collaborations. Representatives from law and design, alongside leading practitioners, considered best practice for labelling of transnational cultural products. These protocols contribute to the development of a Code of Practice for Creative Collaborations, supported by UNESCO. The results from Melbourne will be published on the website for discussion next month and then presented in Delhi at the mirror event on 21-22 October this year. 

In the evening, a panel considered what it means for an Australian designer to work in India today. The coordinator Kevin Murray opened the session with a reflection on the strength of Australian designers, coming from country whose experience of reconciliation grants a sensitivity to cultural difference. This included included video messages from four designers in India. The panel was led by Moe Chiba, the section head of culture for UNESCO New Delhi, who highlighted the role of designers in sustaining India’s cultural heritage, particularly in the crafts. Local textile designer Sara Thorn defied received wisdom about authenticity and argued for the virtue of artisans working with machines in India. Architect Chris Godsell reflected on his experience in building sports stadiums for the Delhi Commonwealth Games in 2010. While providing a cautionary tale about potential pitfalls, he spoke positively about the energy and capacity of Indian partners. Finally, Soumitri Varadarajan talked about the impact that design can have in India, focusing on the issue of maternal health. Afterwards, the panel was hosted at a network dinner at the City of Melbourne, including leading figures from the Indian community and government. (A recording of the forum is available here).

Overall, the evening generated a positive reflection on the opportunities for Australian designers working in India. But at the same time, there were some important questions posed that will remain challenges for the project:

From the Australian perspective, India has much to offer in terms of rich decorative traditions and expanding market. But what then from an Indian perspective might Australia have to offer in exchange? The answer for this question will unfold at the mirror forum in Delhi later this year.

In terms of developing standards for collaboration, there is much interest in focusing previous discussions towards a set of principles that can build confidence in product development partnerships between designers and craftspersons. The next challenge is to link those standards to the market, so that they can have direct economic benefits for those involved. This a matter for future workshops that will explore models of consumer engagement, particularly with social networks.

The journey began with a buoyant march, but steep mountains loom ahead. To follow, go to www.sangamproject.net and subscribe to email updates.

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Call for Papers: 500 word abstract due 30 June 2011

Over the last ten years international collaboration in practice based research in design, craft, and visual art in  various social contexts across the globe has accelerated, yet little focussed reflection/scholarship has emerged  on the topic. As a result, theories of collaboration remain implicit, relying on tacit and indirect knowledge of  the interdependencies and complexities that can arise in design collaboration. Further, studio based practitioner  insights about the changing parameters influencing collaboration are elided in design scholarship. One factor  that contributes to the difficulties in reflecting on collaboration is the multiple variations in which collaboration  is shaped. Similarly, the ethical implications of overlooking assumptions regarding cultural conventions are  rarely elaborated. This symposium maps out a broad range of perspectives on design collaboration in the global  socio-economic contexts of the Asia-Pacific region, including India, Malaysia, Japan and Australia. Emerging  issues of design collaboration include: design in indigenous cultures; scientific developments in design  materials and process; historical design models for global collaboration; complex data visualisation in the  global context; and, the social consequences of new technologies.

The RED Objects research group invites you to contribute a presentation to the two-day symposium on Collaboration.

Confirmed keynote and participants include:

• Fiona Raby, Architect, partner in Dunne and Raby; and Royal College of Art, London,
• Dr Kevin Murray, writer and curator, Australia India Design Platform.
• David Trubridge, Designer and maker of contemporary furniture, New Zealand.
• Yoshigazu Hasegawa, Green Life 21 Project, Nagoya, Japan.

Symposium Themes

— Intermixes of collaboration: the emergence of collaboration as a social phenomenon.
What implicit conventions guide collaboration between designers, artisans, artists, manufacturers, and distributors?

—Theorising the complexities of contemporary making, making and manufacturing and parameters of globalised collaboration.
What are the parameters and constraints, and opportunities and dangers for future design collaborations?

—News from the frontline: collaborative relationships between design and conventional and emerging fields.
What are the implications of recent design collaborations?

Papers presented at the symposium will be considered for electronic publication in 2011 and made available on the RED Objects website (currently under construction).

Symposium: Collaboration in Experimental Design Research
Organised by : RED Objects, Research in Experimental Design Objects, School of Design Studies, College of Fine Arts, University of New South Wales, Sydney
Dates : Friday 5 August 2011 and 10am to 5pm Saturday 6 August 2011
Times : 1pm to 8pm Friday; 10am to 5pm Saturday.
Location : COFA Lecture Theatre corner Oxford Street and Greens Road, Paddington, NSW, 2021.
For all enquiries please contact the RED Objects group via email: redobjects@cofa.unsw.edu.au or Liz Williamson on 02 9385 0627 or email: Liz.Williamson@unsw.edu.au

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There is an old, ongoing, and passionate debate about the difference between art and craft. This debate will probably never find consensus, but it makes us ponder and observe. Years ago, three very successful traditional artisans of Kutch gave their opinions: Ismailbhai said, “The difference is imagination and skill.” “Art is what you do the first time; after that, it is craftsmanship,” Ali Mohammed Isha elaborated. And Lachhuben added, “Everyone can do craft, but not all can do art.”

Art requires concept, imagination, thought. All craft is not art. If the artisan is simply executing patterns or rote copying, it is not art. The head and the heart are as essential as the hands.

The debate matters because it has critical implications for not just the survival but the flourishing of traditional artisans. The economic standards by which art and craft are valued are night and day apart. More than that, cultural hierarchies play out in the terms used. Craft connotes charming diminutive workers, while Art commands respect.

In art, the individual conceives an idea and executes it in his or her medium. It is an activity of self expression. Traditional arts or crafts were usually more functional. A product was created as a communication between maker and user. But as in art, the artisan both conceived the product and created it.

When the relationships between maker and user broke down, design emerged as a separate entity. In craft, it is usually called design intervention, and it indicates a separation between concept and execution. In the process, the concept retains its value, while the execution becomes labour.

In order to reverse the trend, Kala Raksha started Kala Raksha Vidhyalaya, the first design school for traditional artisans. Here, artisans learn design in order to be able to create more effectively for new, distant markets. The unique concepts of each artisan designer are valued, consciousness and confidence increase, and the art aspect of craft reemerges. Artisan Design emphasies the aspect of the artisan’s thought.

Now, Kala Raksha has added a logo to this concept, in order to create visibility and value for the individual’s creative effort. Artisan Design also creates value for the integrated spirit of tradition. This is the symbol of integration of concept and execution, and of raising status of the artisan. It is a new fair trade idea—fair trade for the creative spirit. Artisan Design certifies that a product is an artisan’s own creative innovation. It celebrates the individual’s heart, mind and hand.

The second initiative is e-portfolios of the Artisan Designers who have graduated from Kala Raksha Vidhyalaya. Each graduate has invested a year of hard work and incredible creativity, to embark on a unique artistic path. Through the e-portfolios, Kala Raksha will facilitate contact to world markets for each of these artists. The contemporary market has a critical role to play in recognizing and honouring the spirit of the creator. With information technology, emerging artisan designers can be discovered by people who can value their work. The portfolios will be maintained on a new website www.kalaraksha-vidhyalaya.org to be launched in January 2011.

The third initiative is live in time for the holiday season. It is a collaboration with Equal Craft, a socially conscious marketplace that provides world citizens with excellent world art, and artisans with true global market value and recognition. www.equalcraft.com

Combining age old tradition and the latest technology, Kala Raksha and Equal Craft are breaking social barriers. E-commerce makes it possible for rural artisans to directly connect with long distance markets. The fact that one can ask what is the difference between a quilter in Vermont selling her quilts on Etsy.com and Lachhuben Rabari selling her embroidered bags on Equalcraft.com says it all. There is no difference. The venture is leveling the playing field. The difference is that now Lachhuben can sell her embroidered bags directly to anyone in the world—and she can get direct feedback from her customers!

Equal Craft’s contemporary technology makes it possible to sell the story– the cultural and personal context that creates value –along with the product. You can follow what else Lachhuben has made. And you can ask this Rabari woman what she thought about when she created it—and get her response.

In the way that Kala Raksha Vidhyalaya offers design education to artisans with no formal education, Equalcraft.com makes social networking possible for artisan designers who may not read and write.

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Title: A Fair Trade for Creative Labour: How to sustain trust in north-south collaborations
Date: Monday 19 October 1-2pm
Location: Design Research Institute, RMIT University Level 3, 110 Victoria St, Melbourne

Speakers:

• Dr Linda Chalmers, Product Manager, Oxfam Australia
• Professor Donald Feaver, Associate Professor of Law, RMIT University
• Professor Mark Minchinton, Professor of Aboriginal and Torres Strait Islander Education, RMIT University
• Associate Professor Tim Scrase, Director of the Centre for Asia Pacific Social Transformation Studies , University of Wollongong

Globalisation threatens cultural diversity through the loss of local markets and commodification. In response to this, there is increasing interest by consumers to support local producers through their purchases. Fair Trade has emerged as one attempt to guarantee producer benefits.

But there are problems. Fair Trade sometimes appears as a reasonably blunt instrument that does not reflect the complex relations between rich and poor worlds, such as when a designer seeks to develop a product with rural artisans. Are there ways of strengthening such forms of accreditation to reflect the complex negotiations about issues such as cultural authenticity that arise in product development?

Meanwhile, we are seeing the emergence of various ‘soft laws’ to regulate global industries and maintain consumer trust. What instrument might assist in collaborations between designers and artisans? How might this inform the concerns of consumers in their desire to do good by purchasing these products? Is there a place for this in projects that involve Australian Indigenous craft and design?

This panel discussion provides an opportunity to consider the role of a code in cultural industries involving relations between peoples on either side of the global divide. The participants offer alternative and important perspectives on this process.

Organised by Dr Kevin Murray, Adjunct Professor in the School of Art at RMIT University. Please RSVP Monday 12 October to Emma Barrow for catering purposes. emma.barrow@rmit.edu.au

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The event was well-organised, strategic, relevant and in particular, provocative.

The premise of this Monza gathering was that cultural heritage can benefit from an association with business, and vice versa. According to the brief:

Cultural industries, notably in the areas of design and fashion, embody a continuum between traditional inspiration, the fruit of identity, and modernity. They would benefit from being more deeply rooted in traditional know-how. Cultural industries must be able to give life to and be nourished by know-how through adapting to a changing world. In so doing, they can embody a constant dynamic of renewal.

This move towards the private sector a shift from the focus that many associate with UNECSO, which would be to work with state institutions such as museums and universities to sustain traditions. Previously, the operations of the capitalist market would have been seen as a threat to cultural heritage. Not so today. This link between culture and business has become a familiar conversation in Australia, so how does it sound on the global stage?

Given the support of its hosts, it is understandable that the Italian perspective was strongly featured in the forum. The Italians have much to gain by associating their products with their cultural heritage. This gives them an obvious edge over countries like China, particularly in luxury brands.

It was surprising to see how strongly craft figured in this. In the opening session, Sandro Bondi the Italian Minister for Cultural Heritage and Activities spoke of the close link between the handmade and an aesthetic sensibility. Roberto Formigoni, the President of the Lombardy Region, saw craftsmanship as the essential basis for successful industrialisation.

Complementing this were some high-powered presentations from business consultants about ways of marketing craft. Tom Pigott, the CEO of BrandAid, spoke about their pilot project in Haiti, where they recruited Hollywood celebrities to support local metalsmiths. He made the emphatic point that ‘Poverty needs marketing’.

This was one point that warranted critical reflection. It’s a curious statement, when you break it down to its components. The implied aim is to improve the standard of living for artisans, so their craft can flourish. One way to do this is to sell their very impoverishment as something attractive, particularly to consumers whose only real lack is lack itself. Yet, the success of this will inevitably destroy the very quality on which its success depends – poverty. Hopefully, future forums will be able to work through this contradiction.

At the very theatrical conclusion of the forum, the Minister for Foreign Affairs Franco Frattini joined his Italian colleagues in offering the sumptuous building of Villa Real as the permanent site for the UNESCO forum, which would become an annual event.

The UNESCO World Forum on Culture and Cultural Industries faces the challenge of finding a place for itself amongst a number of similar global platforms, such as the recent World Summit on Arts and Culture in Johannesburg.

The forum touches a sensitive nerve in the status of world crafts. It resonates with the current consensus that heritage is a living process that must be able to respond to modernity. The support of rich consumers is a real alternative. I think there’s an argument for the benefits of such patronage in supporting excellence and diversity in crafts, especially in the land of the Medicis. But there are also real issues in the breadth and sustainability of those benefits.

So might this debate proceed? In my next post I’ll mention what to me were some of the productive threads of discussion that emerged at Monza.

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twohands

Today in the South our calendars tell us that this is the beginning of spring. But as trees come into blossom here, the leaves will begin to wither and die in the North.

In his novel Rasselas, Samuel Johnson attempted to discover the secret of happiness. After many adventures, he concluded that any happiness is always accompanied by a loss, ‘That nature sets her gifts on the right hand and on the left’. You can choose to have either worldly fame or a bountiful garden. It seems that full happiness can only be experienced collectively.

Two hands is a symbol of a world made from the separation of two halves – North and South, thinking and doing.

Aristotle saw the world as made by two kinds of persons: the user who determines the form and the producer who realises it. In much of everyday life, these two sides work together: we want a cup of tea and we find the materials and equipment to make one. As human society evolves, these two sides are drawn apart. In the West, there is a hierarchy that places the thinker above the doer, the architect above the builder. Globalisation has put increasing distance between the consuming ‘first world’ and the producing ‘third world’.

It seems this arrangement is reaching its limits. Environmentally and financially, the world is out of kilter. In the West there are movements such as the Slow Movement and DIY that seek to re-incorporate making into daily life. And in the emerging economies, there is a call for increasing consumption and agency. The Kyoto Protocol has set up a framework where the future of the planet depends on a consensus between these two worlds.

On the ground, there is increasing activity in a kind of product development that involves designers working with artisans. For artisans, this collaboration offers the opportunity to find new markets that can replace the local sales lost through cheap imports. For designers, there is the potential to add an ethical value to their products. In a small but tangible way, craft-design collaborations provide models of north-south partnerships.

Such collaborations face challenges. Some in the crafts believe it is essential to maintain a link with tradition – craft is a way of keeping our authentic cultural identity. They think design ties craft to a short-term fashion cycle, as the whims of a distant market dictate what an artisan can do. And some in design world see the making as unimportant: as long as it is good quality and cheap, designs can be produced by anyone anywhere. Good design transcends its materials.

Of course, collaboration is not for everyone. There are circumstances were ancient crafts need to be preserved for the sake of our cultural diversity. And others where design operates at a purely speculative level in order to forge new ideas.

But in our world today, it is essential that we construct a bridge to encourage traffic between the two. The water below is turbulent. A legacy of colonialism, dictatorships and exploitation make it difficult to bridge the two worlds. Dialogue does not imply the denial of difference. But a common interest in the success of a product can help develop trust. What’s needed is a leap of faith.

Craft Unbound is a place for reviewing attempts to bridge these worlds. One bridging project is the Code of Practice for Craft-Design Collaborations. It begins by gathering information from both sides – a frank and open review of the experiences of designers, artisans, community leaders, activists, historians, anthropologists, wholesalers, retailers and consumers. Having surveyed the different perspectives, we can then bring together relevant organisations to construct a set of guidelines that best aligns the different interests.

To begin, we need to acknowledge that there a two sides to this story – the craft skills developed over millennia and the design concepts that give these skills a meaningful role to play.

Good craft is well-designed and good design is well-crafted.

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Yes, this is a characteristic of what we call ‘the great engine companies’. The young man — and there were not many women in business going back to the 1950s and ’60s — but the young man would join the corporation from college, aged 21, 22, and he would work his way up to the top. And as he went, he learned two things. He learned the craft of management. Now I think this word ‘craft’ is extremely important. Management is something that you learn on the job under a master, just like an old-fashioned craft of carpentry for example. So the individual learned the craft of management as he worked his way to the top… And as the young man progressed up through the ranks towards the top, he would tend to move around all the departments, so he spent a little time in sales, a little time in accounting, a little time in manufacturing, and when he reached the top he would have acquired ‘domain knowledge’. He would know about the product, the suppliers, the customers, the method of production, the relation to regulatory authorities, movements in the market. He would be a master of the subject.
(ABC Radio National Background Briefing – 29 March 2009 – MBA: Mostly bloody awful)

It seems one of the great challenges of our time is to find ways of re-introducing the value of craft into how we manage our world. What survives of traditional crafts (pottery, weaving, metalsmithing, etc) provides a compelling theatre for these qualities. But that shouldn’t be seen as a kind of monastic order separated from worldly affairs. How can these values find their way into the way we heal bodies, manage our cities, grow our food and tell our stories?

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On a personal note, I’m quoted by the author as making a statement about design and the Platonic hierarchy. This reference to Plato may seem a little untoward as a quote taken out of its conversational setting with the author. So please let me fill in that context.

My point was that, broadly speaking, Western culture tends to see materials as secondary to the ideas that shape them. This theory of Platonic forms provides a metaphysical framework that underpins religious and class hierarchies. This reached an extreme expression in our era. The millennium drive to ‘smart solutions’ that transcend the messy business of making things fuelled a seeming air-borne culture that has just recently come crashing to the ground.

Design featured in that story as the way information-based capital could replace the loss of manufacturing, particularly in regions like Victoria. But the kind of design that flourished in this environment seemed largely about the consumption of imported brands. As many have argued since, design became a form of cultural capital that circulated between urban elites and those wishing to buy membership. This resulted in a few elegant and worthy objects, but also a sea of hype which submerged the less glamorous craft side of the equation.

Don’t get be wrong. I think design plays a critical role. Good craft needs design if it is to find a place for itself in the lived world. It’s just that the relationship is two-way. Design also needs to be in partnership with the skills and labour necessary to realise its ideas in the materials available. The logic of outsourcing that dominated the ‘smart’ years too often took the ‘making’ side for granted. Hopefully, no more.

I’m fond of the line by Mikhail Bakhtin that ‘Expression is the cradle of experience’. So we could also say that craft is the cradle of good design.

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Other entrants included Adam Cornish, Lambie Chan, Lucas Chirnside, Matthew Harding, Cathy Jankowsky, Joseph Keenan, Jacqueline Ying Jun Lin, Chris Connell, Stuart McFarlane, Ross McLeod, Drew Martin & Dale Rock (Rock Martin), Oliver Field, and Helen Kontouris.

Congratulations to all, but there are concerns.

This year’s award continue the NGV’s presentation of the Rigg award as an exhibition of ‘contemporary design’. Previous media have included ceramics, jewellery, hollowware and textiles. Presenting these in purely ‘design’ terms has the effect of focussing attention on the cleverness and fashion. It tends to marginalise more cultural issues expressed through the language of materials. In a country like Australia, wood has great power as a symbol of identity. 

Let’s hope that the next iteration of the Cicely & Colin Rigg award brings craft back into the equation. Design hardly lacks for recognition in our world. And the global financial crisis demands that we reconsider our own skills and culture. Maybe the 2011 Cicely & Colin Rigg Craft & Design Award will be for glass. I’ll drink to that.

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The scenario proved very lively. An Australian Indigenous Design Company was attempting to develop a ‘world craft’ product with traditional Aymara weavers based in the Andes. This was to be sold through a local gift shop to an Australian family. It all began well when a poncho design was developed that featured a hood which appeared very fashionable. But when this failed to sell in the shop, the artisans realised that they had forgotten to ensure payment. Trust broke down between artisans and designers and a stand-off ensued. In the end, it was the consumers who managed to regain trust by developing a ‘sister school’ relationship with the Andean village. This then paved the way for a cultural exchange between the designers and artisans. On the basis of this restored confidence, they were able to develop a more fitted product that was eventually successful.

The workshop revealed many dimensions to the business of cross-cultural product development. In particular, it showed that consumer participation can often be very productive in strengthening these cultural ties.

This exploration has many more possibilities to explore, but these exercises seem wonderful opportunities to share expertise and forge new methodologies. We are certainly entering a phase of ‘world craft’ when new possibilities are critical for its future.

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As we saw a ‘linguistic turn’ transform humanities in the late 20th century, on our side of the millennium it seems that we are witnessing a wave of cultural accountability – an ‘ethical turn’.

Culture is no longer ‘innocent’ of politics. An artist cannot draw inspiration from the third world without accounting for his or her economic privileges. Similarly in disciplines such as anthropology and archaeology it is an expectation that the researcher works in partnership with the community – the knowledge which they glean must be paid for, usually in services.

This ethical turn may seem rather negative. Guilt can lead towards greater distance between cultures, as those from rich countries are hesitant to be seen as cultural predators. But there are positive developments too.

The existence of a just partnership between rich and poor is a valuable ideal, and increasingly we seem willing to pay for it. Fair Trade sales in commodities such as chocolate and coffee have risen greatly, up to 50% a year. Given the modest nature of these purchases, it is unlikely that they will be affected by the economic downturn.

Previously, it was the ‘customer is always right’. But now the interests of the producer have become relevant. There is a multitude of products that advertise their benefits to the community of origin, including bottled water, textiles, furniture, cosmetics and medicines.

As this trend continues the build, it naturally becomes commodified. We cringe to learn that McDonalds is now a member of the Rainbow Alliance. What guarantee do we have that such associations are more than marketing gimmicks, there to enhance the primary brand? As Nestlé, Coca-Cola and other global brands jump on the ethical bandwagon, we are tempted to become cynical about the whole ethical turn. How can we tell the difference between substance and advertising?

At this point, it seems important that those designing these products find a way of sustaining the trust of the consumer. The challenge is to provide the consumer with convincing information about the arrangement with the producing community. It’s hard to convey this information just as dry facts, there needs to be a compelling narrative about the challenges faced by the community and their current aspirations.

This is partly a design challenge. How do you develop products that ‘feel good’? How might the consumer feel that his or her purchase not only promises themselves goodness, but in a small way makes the world a better place? This product might be the exception. This product may not be not drawing on an unsustainable resource, subjecting displaced peoples to sweatshop conditions, exporting industrial pollution from first to third worlds, etc.

So we need to find a way of designing ethical value that will last. It’s not good enough to make ethics fashionable. Today’s trend is tomorrow’s dumpster. And it’s not enough to be dewy-eyed. Today’s romantic myth is tomorrows hardened realism.

The project of a Code of Practice for Craft-Design Collaborations is designed to strengthen this ethical turn in product development. The initial phase is to open this question up for discussion in a way where no view is excluded, from the most idealistic to the most cynical. It is this openness that will serve to help develop an enduring understanding of the nature of an object’s ethical value.

This year, there are already two workshops planned to start this discussion. The first will be at Selling Yarns next month. The second will be in Santiago, Chile, in September.

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