The National Craft Seminar 2014 – “Paramparaa: Future of Craft Traditions” is a part of the seven day long, ‘Garvi Gurjari National Craft Fair and Summit 2014’ from 21st to 27th February, 2014 at Ahmedabad organised by Ministry of Cottage Industries, Government of Gujarat, India.
This is an update to an article that I wrote for Art Jewelry Forum The DIT (Do It Themselves) Movement In Indian Contemporary Jewelry. In it I mentioned the work of the Bangladesh jeweller, Amman Rashid:
The Bangladeshi jeweler Amman Rashid would seem a more conventional candidate for contemporary jewelry. He sources materials from a broad range of cultural sources, including ink pots, trade beads, hookah parts, old brass seals, old cutlery, and old broken pottery pieces. Each work is unique and has its own name, such as Chiroshokha, Krishnobott, Kanchon, Protnotattik, and Aadibashi. There is no gallery for his work, and he has never heard of contemporary jewelry. He frames the work himself under the concept Aadi, which means “beginning” in Sanskrit. His work fits the studio model, and he is keen for international exposure. Can we imagine a Bangladeshi in Munich?
Above is an image of his work that is missing from the article.
Since then, I’ve also heard from the Indian jeweller Eina Ahluwalia, who I wrote about in a previous AJF article. She gives a little more background to her workshop conditions. She has three teams of artisans who have their own workshops and work on contract. There are occasions when the teams introduce their own ideas into the design process. The way she operates, the price is fixed by the craftsperson. For Eina, is it important that their interests are served for the long term survival of skills:
It is imperative that we make the trade monetarily worthwhile for the artisans to keep the craftsmanship alive. We need to compensate them for their unbelievable skills, their patience, perseverance and enable them to live the lives they wish for themselves and their families, or else they will leave the trade.
Let’s hope we see more of the work by jewellers like Eina and Amman in the future. They have much to give to the contemporary jewellery field.
Generally, I get a privileged view of what’s happening in world craft, filtered through the programing of events such as this conference and World Crafts Council extravaganzas. But it’s getting on the road and visiting villages where craft is still practiced that I tend to learn about what’s missing from these rosy views.
I had the opportunity after the conference of going to Kishangarh to teach a workshop at the new University of Central Rajasthan. I arrived late at night, embracing the warm night air after being confined in the freezing AC in First Class (there were no tickets available in Sleeper). Stumbling across the tracks, I found my host waiting patiently, who took me to my accommodation in the Heritage Hotel. Like many developments in Kishangarh, this mock Haveli is only two years old.
I found out soon after arrival that there was no WiFi or Internet in the rooms, but the staff lent me their hotel’s own dongle so I could get a connection during the night when they didn’t need it. This is a typical Indian exchange – disappointment with services followed by a generous gesture. Perhaps there would be more reliable Internet in Australian hotels, but they would charge you for it and would happily abandon you if there was a fault.
The motto of Central University of Rajasthan is ‘Education for Sustainable Development’. For our workshop, we focused on the concept of sustainability, to understand what it means to preserve the past, and when it might be better to let go. The students were mostly Rajasthani and quite idealistic about the negative impact of economic development. They seemed to embrace the discussions, offering critical perspectives on commodification. It was clear that this was a new generation of open-minded young Indians which offered much promise for all the new organisations and businesses that are starting up around the country.After the workshop I was kindly invited by local Australian Fiona Wright and her husband to visit Thilonia, the fabled village of Barefoot College. I’d seen Bunker Roy speak about this in 2010 and found it impossibly idealistic. But seeing for myself the women from Jharkhand making circuits for solar panels, I lost any doubts about the project. It was an inspiring experience.
Afterwards, a person who runs a new start-up for online craft sales offered to show me some villages on the way back to Jaipur. In his little jeep, we trundled down endless bumpy roads to find a village that he has been working with to supply goods for sale.
On arrival, I found myself the object of a traditional welcome. A woman came out of the house to drape a garland of flowers around my neck and anoint my forehead with a tilak red thumbprint. I do confess to a romantic notion about traditional welcome ceremonies, so was quite overcome to be greeted like this.We then went inside for a chai and sit down. During this time, various men came and went. They seemed quite distant from any craft production, and I began to wonder if I was captive to some patriarchal elite in the village. After some time, and in fading light, we eventually went to visit some of the homes were women embroidered. In what seemed an endless succession, I was invited into room after room where women stretched their fabric to work on. They eagerly demonstrated their techniques for me. I was very grateful for the contact, but the embroidery itself seemed quite elemental, particularly compared to the masters present in Make it New Again. Many of the sequins were glued onto the stretch fabric. This in itself isn’t an issue for a village that clearly maintained a local craft production. But there were expectations attached to my presence that I could be able to take it further, perhaps opening new markets for them. It is conceivable that a designer could come to live with these women and develop a unique product that would stand out from others. They were in the business of setting up an impressive village office, that could prove a hub for this. But visiting their homes, I was quite struck by the wonderful visual sense evident in the arrangement of objects on shelves. An alternative route would be develop the design skills of the women themselves in an alternative medium, like graphics.
During the long freezing drive back to Jaipur, I worked through the experience. What to do with such great expectations? Is the one-off presence of an outsider like myself sufficient in itself as an unusual event to give honour to the local embroiderers? How can a product carry values that are part of village life? There was many questions floating around, but one definite conclusion settled in my mind. I discarded any notion that Rajasthan was saturated with craft NGOs. The region has a potent combination of need, and capacity, but the challenges should not be underestimated. I do dip my lid at those who make a fist of it.
Summary comments presented at Kaivalam Craft Summit, World Crafts Council General Assembly, Chennai 7-10 October 2012
We’ve just shared three days of talks from extraordinary people from all corners of the world about the state of craft today. What have we learned?
There have been some important proposals for us to consider. The most salient of these has been the development of an Academy of Craft & Design, presented by the Indian Minister of Handicrafts, Anand Sharma. That I could read about this in the Times of India yesterday is testament to the usefulness of the World Crafts Council presidency to the host nation. It is a great credit to the influence of Mrs Usha Krishna that she has been able to leverage the occasion for strategic political announcements of benefit to the craft sector. We hope the academy, when finally built, will prominently feature her portrait in recognition of her resounding contribution to craft.
Looking more behind the scenes, we had advice about the need to know ourselves better, in particular to collect data that could translate our blind passion for craft into cold hard statistics. Ashoke Chatterjee spoke about this in the Indian context, contrasting the excellent business case of the craft export centre against the largely opaque local sector. Simon Ellis offered us some recent models for quantifying craft used by organisations like UNESCO.
Proposals like these will depend partly on factors beyond our control, particularly government budgets. While we need to follow up on these beyond Kaivalam, it is important that we find ways of continuing the conversation started here.
As I attempted to distil the learning of Kaivalam last night, I was inspired by the wonderful Sari Production that we witnessed, where dancers performed the marvellous process of sari weaving and wearing. They beautifully conveyed the back and forward of the shuttle that is intrinsic to weaving. And so, thinking about our discussions, rather than define our agreements, it seemed more appropriate to identify the dualities that energised our discussions. While here in India, it seems important to take one of its principle learnings, Dharma, as a framework for thinking about the dualities that have been revealed in world craft over the past three days.
While one side tended to dominate in Kaivalam, the other was evoked. Our ongoing discussion aims to weave a dense fabric of understanding moving between the two alternatives.
What is the best market for craft?
On the second day, we heard some very impressive case studies for the support of traditional craft through the luxury market. These included opportunities discussed by Marcella Echavarria for appealing to consumers in New York through clever branding, Umang Hutheesing’s continuing revival of the courtly traditions that thrived under the Maharajas, Rolf von Buerren’s tribue to the vision of the Queen of Thailand in sponsoring her country’s craft, and the marvellous tale of Jean François Lesage’s work in servicing the restoration of European aristocratic treasures through Chennai craftsmanship
There is no doubt that royalty has played a positive role in the development of craft excellence and exquisite technical skill. As craft becomes increasingly rare, it also gains in exclusive value. And if we argue that wages for artisans need to increase, we should look to the wealthy who are the ones that can afford to pay the higher prices. It seems a good bet.
But then on the other hand, as Ms Souad Amin from Lebanon asked, is craft just for the elite? Actually, the dominant story of craft invoked on the first day was that of Gandhi, who saw spinning as a spiritual exercise for the strengthening of the Indian nation after British rule. So where was the spirit of the hand-spun khadi cloth today—craft for every person and every day? In Kaivalam, this found its expression largely in the corporate sector. We heard from Janet Nkubana about how she has been able to create a craft industry for her fellow Rwandan women supplying the Wal-Mart chain in the United States. We had Ratna Krishnakumar’s beautiful presentation of saris made by the Pochampalli weavers, now providing uniforms for the Taj Hotels. For those who are able and interested to make a regular supply of craft products, there are many new opportunities to connect with corporate outlets.
On the one hand, luxury boutiques. And on the other hand, supermarkets. Both alternatives exist very much within the existing market system. Maybe there’s also a space for craft that connects people more directly than through the market. We need to think more about the egalitarian role of craft, in particular how to reconcile the DIY movement with world craft.
How can countries partner together?
As has been evident thus far, the World Crafts Council is a multifaceted forum for bringing together many different cultures of the world.
Apart from sharing a solidarity through our own individual craft traditions, the question was raised of how we can collaborate together as partners. This is particularly evident in the paper about India-Africa partnerships at NID given by Frances Potter and Shimul Vyas. As Frances said, she had presumed that all possibilities came from the north, but she just woke up one morning and thought of India. I wonder what she dreamt of during the night.
The Zimbabwe-India partnership is a perfect example of the kind of south-south cooperation that is growing so strongly now, most evident in the rise of the BRICS trading block. Of course, it is particularly strong right here in the audience of the General Assembly, where we see a growing proportion of countries from the global South. We are at the crest of the tide of history, particularly the Asian Century.
But we should never forget the North. As Adelia Borges reminded us, north-south relations can sometimes be a monologue. Northern designers can often commission craftspersons with little dialogue over the final product. But dialogue goes both ways, and we should also consider the North as an essential part of the World Crafts Council conversation. After all, it’s where the modern craft story began, with the Arts & Crafts Movement whose ideas expressed by William Morris and John Ruskin helped inspire the craft revivals in India, Japan and beyond. Today we see such innovative design emerging from countries like the Netherlands, Norway and the UK. We certainly witnessed this in Christa Meindersma’s presentation of works supported by the Prince Claus fund in the Netherlands.
On the one hand we have the South with its energy and vibrant traditions, and on the other we have the North with its modernist professionalism and institutions. Getting our two worlds to talk to each other with equal respect is a major challenge for world craft.
What is the space of craft?
One of the very surprising and thrilling discussions followed the talk by the Mooji designer, Kenya Hara. You’ll recall, he spoke about the aesthetic of emptiness and its role in design. Hara framed the place of emptiness in Japanese culture as an invitation to the gods. He contrasted this to way decoration on objects operates as an expression of power.
But then the Kuwaiti scholar Dr Ghada pointed out that in the Islamic tradition the purpose of decoration is to keep the devil out. From one end of Asia to the other we witnessed a clash of opposites—gods and devils, emptiness and fullness. Where might they meet?
When pressed on this matter, Hara observed that the very plainness of Mooji design offers a place for the crafted object to be more clearly apprehended. A simple table provides the perfect stage for a finely worked piece of craft.
This was an intriguing model for the role of design in craft: design makes a space for craft to express itself. Given the business and noise of contemporary life, making this space, what Heidegger calls the ‘clearing’, is particularly important.
On the one hand the emptiness of design, but on the other hand, the fullness of craft. As a curator, I find this duality particularly important.
How do we protect craft?
Then yesterday, we had an especially intense series of papers about Geographical Indicators. Here we learnt about the role of the law in protecting our craft knowledge. Geographic Indicators ensure that a community which has been the custodian of a particular craft tradition will be the exclusive owners of that intellectual property. These Geographical Indicators are an important addition to the legal arsenal alongside copyright, patents and traditional knowledge.
But there is also the parallel effort to protect craft from imitation and knock offs, which doesn’t rely on lawyers or courts—marketing. Today craft organisations organisations can develop websites that include images of their artisans, perhaps even videos, so the ethical consumer can feel more confident about their authenticity. More practically, this information offers a story that they can then use when sharing their purchase with others or directly when presenting it as a gift.
So we have two quite different approaches to protecting the authenticity of craft. In one we invest in the legal system, enforced by fines. And in the other, we engage in marketing, creating value in our brand. What’s it to be—the stick or the carrot?
To an extent, these alternative paths overlap the rich and poor duality. The ethical consumer tends to be a wealthier person, looking for a good story rather than just something that ticks the box. On the other hand, the lower end price sensitive market will not worry so much about authenticity In this case, we need more pre-emptive legal powers. I think there is still more potential in consumer-led protection. The customer forums that are increasingly prominent in the Internet offer greater scope for crowd-sourced whistleblowing.
What is the future for craft?
Clearly we cannot sum up Kaivalam without acknowledging the key question. ‘The future is handmade’ strikes a defiant tone. We make a bold challenge to the technological idea of progress which champions development as the replacement of human drudgery by ever more efficient machines. According to the technocrats, we are better off entrusting our world in machines, devices, clouds, rather than our own hands. It does seem unfortunately the default position of governments, but also sadly an increasingly popular attitude amongst many in the next generation.
Rather than succumb to defeatism, we take a stand. The future is handmade presumes we can leapfrog this purely technological idea of progress by anticipating a time when we realise that technology cannot answer our basic needs.
One of the quite deep aspects of Kaivalam was the way it reconfigured our understanding of time, particularly craft time. I liked the way Syeda Hameed quoted Rumi, including the line: ‘constant slow movement teaches us to keep working like a small creek that stays clear’. It’s not so much the linear flow of water, but its constant motion that is important.
There were many comments not just about the speed of progress, but also the narrowing of our time frame. Rolf von Buerren noted that the rhythm of life in the US is around five minutes, or the time between advertising breaks. Indeed, we are now witnessing an election campaign in the United States where the choice of leader in the largest world economy can be determined by a few minutes on the television screen. But more profoundly, we’re all still reeling from the devastation to our global economy caused by the intensification of short term profit by financial traders.
Craft is not so much about the past or the future, as what connects them together. As Octavio Paz wrote in that landmark 1974 World Craft Council publication In Praise of Hands, ‘The modern artist has set out to conquer eternity, and the designer to conquer the future; the craftsman allows himself to be conquered by time.’ At its core here is an acceptance of time, linking past and future.
Arguably the most treasured consumer item at the moment is the Apple iPhone 5. It has truly miraculous powers and sports deviously clever apps. But how long will its value last? Will it ever be an heirloom? The value of these gadgets starts declining from the moment we purchase them. It’s the handmade object that we will entrust with our long term future.
On the one hand our tomorrow, on the other our children’s tomorrow. Craft stretches time. And as we need to face up to long-term issues like climate change, this role is increasingly important.
Four year journey
We may have started under the cloud of the GFC, but we’ve shared remarkable times together. I’ll never forget during Abhushan, listening to Ms Azza Fahmy from Egypt, on the morning the news broke about the change of leadership, how we could all share with her that solidarity that remains between those involved in craft, despite the upheavals that affect our world.
We’ve shared now in Kaivalam a great testament to the vibrancy of the ‘World’ Crafts Council. Beyond the formal presentations, we’ve had the privilege to meet people from 39 different countries, all brought together through a common interest in making beautiful objects that have a lasting place in our world.
Part of living in the world involves accepting that not everyone is the same. Rather than dilute our identity, diversity makes it stronger. There are at least two sides to the questions we’ve been considering over the past three days. Like the shuttle that moves across the loom, the play of opposites builds a stronger understanding of where we are.
On the one hand, and on the other. What do we do? Let’s put them together and congratulate Mrs Usha Krishna for leading us through the past four years.
The iconic Australian football manufacturer Sherrin has been forced to withdraw its half a million footballs, after it was discovered they were sewn by poor children in India.
With maximal impact, the scandal broke in Fairfax media at the beginning of Grand Final weekend. Despite safeguards and standards of corporate social responsibility, it was revealed that children in the slums of Jalandhar in the Punjab are paid as little as 12 cents an hour. At the same time, they experience damaging side effects including septic fingers, allergies and back problems. More importantly, they also lose the opportunity to gain an education and escape poverty.
The follow up story at the beginning of the week reported that a young boy Dylan Ferlano had found a needle in an Auskick football. This prompted Sherrin CEO Chris Lambert to withdraw all the footballs to the coast of $1 million.
From a global perspective it’s a salutary tale. Footy is one of our most sacred institutions. The oval ball is an object around which we celebrate noble Aussie virtues of mateship, guts and reconciliation. Yet even here, the snaking supply chain of globalisation finds its way in, taking away our otherwise innocent enjoyment. In this case, it literally pricks out conscience. It’s similar to the scandal associated with worker suicides at the Foxconn factories that produce the iPhone.
This is not a new story. The tale reinforces the colonial perspective on the Third world that was so masterfully captured in Joseph Conrad’s depiction of Congo’s rubber plantations in Heart of Darkness—‘the horror, the horror.’ The immediate response is to cease supporting the operation and hope it closes down. Bit the Sherrin football scandal has the potential to taint other products made in India by association.
Without diminishing the shame of child labour, the Sherrin scandal does reveal the strength of craft skill in contemporary India. While we might see it as drudgery, there are at least 20 million Indian adults who take pride in their capacity to made beautiful objects by hand. The techniques of block-printing, hand-weaving and natural dyes are becoming increasingly rare and sought after.At the same time that ‘made in India’ is vilified in Melbourne, it is being celebrated in Sydney. From late winter, the Artisans of Fashion program has been promoting the craft skills of India. Australia’s top fashion designers feature in parades and exhibitions centred in the city’s Strand Arcade. Billboards around Sydney featuring waif like models set against a backdrop of vibrant colourful India.
Far from demonising hand production, the key aim of Artisans of Fashion is to help it survive. According to its founder Carline Poiner , ‘Once a generation stops using a particular technique, it is lost.’
Increasingly, Australian designers are going to India to take advantage of these skills. And it’s more about quality than profit margin. In the case of that other iconic sport, the Melbourne design Simone Le Amon has made a career out of partnership with an Indian cricket ball manufacturer, who provides offcuts for her ‘A good sport’ bracelets.
Set in Sydney’s design precinct of Surry Hills, Planet is one of the many upmarket outlets which is increasing amount of product that is made in India. For owner Ross Longmuir, making things for others is a long-standing practice in India, ‘Traditional hand craft skills in India go back centuries for export production and are spectacularly good’. Longmuir is even planning to set up a second home in India to focus more on local production.
Rather than pull out of India, Longmuir recommends that Sherrin set up education subsidies for female children in these communities. ‘And for this not to be a token move, I would suggest that Sheridan executives should visit India and get involved directly with this project and that there should be a follow up of results.’
For many Australians, involvement in India is not just a matter of getting stuff made cheaply. They have an interest in long-term benefits. Designer Carole Douglas helped in the reconstruction of Ahmedabad after the earthquake. Funds from Artisans of Fashion go to towards supporting an orphanage in Jaipur.
We’ve become increasingly dependent on the skills of people from countries like India. They make our clothes, build our gadgets, answer our telephones, administer our finances and code our software. Returning footballs, even in such quantity, is not going to stem our increasing dependence on the work of others.
Certainly, it is important to develop strong codes of practice and workable auditing procedures. But in the end, it will come down to the consumer to accept that we have to pay more for what we use. There’s no such thing as a free football.
‘Sustainability’ certainly seems the word of the 21st century. But it is not unprecedented. As the papers in the latest issue of Craft & Design Enquiry show, there are strong connections with the response to industrialisation by the Arts & Crafts Movement in 19th century England. Reviewing this history may provide an important guide to the future.
Craft Australia announces the publication of the third issue of craft + design enquiry, its open access, peer-reviewed online journal interrogating discourses surrounding craft and design practice. See www.craftaustralia.org.au/cde
Sustainability in craft and design explores the role of craft and design in social change responding to the challenge of global warming.
It features articles:
- Towards a post-consumer subjectivity: a future for the crafts in the twenty first century? by Peter Hughes
- Ideological constructs – past visions/future possibilities: evaluating the endangered subjects in the context of emerging global sustainability and environmental agendas by Mary Loveday Edwards
- Theorising a transformative agenda for craft by Matthew Kiem
- Ecology and the aesthetics of imperfect balance by Roderick Bamford
- Craft and sustainable development: reflections on Scottish craft and pathways to sustainability by Emilia Ferraro, Rehema White, Eoin Cox, Jan Bebbington and Sandra Wilson
- Sustaining crafts and livelihoods: handmade in India by Sharmila Wood
You are invited to a discussion about Australia-India partnerships in craft and design.
Speakers include Ritu Sethi (Director, Craft Revival Trust), Chris Godsell (architect with Peddel Thorp), Sara Thorn (fashion designer) and Soumitri Varadarajan (Industrial Design, RMIT)
This is a State of Design event presented by Sangam – the Australia India Design Platform, a program of the Ethical Design Laboratory at RMIT Centre for Design, in partnership with Australia India Institute, Australia Council, City of Melbourne, Asialink and Craft Victoria.
India is both one of the world’s leading economies and a treasury of cultural traditions. While in the past, many craftspeople and artists have travelled to India for creative inspiration, today new partnerships are emerging in design. Architects, fashion designers and industrial designers are finding new opportunities in the demand for skills both inside and outside India. In particular, India has an enormous capacity of craft skill that is lacking in the West. As India gears up for increased export activity, how will the ‘Made in India’ brand compare to ‘Made in China’? What are ways of local designers to add ethical value to their products through partnership with India? How can cultural differences between Australia and India be negotiated to enable productive partnerships?
Design can play an important role in building partnerships in our region. Globalisation is now extending beyond the large-scale factories of southern China to include smaller village workshops in south Asia. This offers many opportunities for designers to create product that carries symbolic meaning. But to design product that is made in villages requires an understanding of their needs and concerns.
This event is about design practice that moves between Australia and India. It is looking at how the stories of production can travel across the supply chain from village to urban boutique.
This seminar is part of Sangam – the Australia India Design Platform, a series of forums and workshops over three years in Australia and India with the aim of creating a shared understanding for creative partnerships in product development.
Sangam – the Australia India Design Platform, is managed by the Ethical Design Laboratory, a research area of RMIT Centre for Design, including researchers from Australian Catholic University, University of Melbourne and University of New South Wales. It is supported by the Australia Council as a strategic initiative of the Visual Arts Board and the Australia India Institute. Partners in Australia include Australian Craft & Design Centres including Craft Australia, Arts Law and National Association of the Visual Arts. Partners in India include Craft Revival Trust, National Institute for Design, the National Institute of Fashion Technology and Jindal Global University. This platform is associated with the World Craft Council and the ICOGRADA through Indigo, the indigenous design network.
Photo of Kolkata flower market by Sandra Bowkett
How would you like to work with Indian craft?
Australia India Design Platform is seeking expressions of interest for an Australia-India Design Residency. AIDP is a three year program of forums and workshops in Australia and India that aims to develop fair standards in product development which can add value to craft practice in partnership with art and design.
India contains a wealth of traditional craft skills. They developed over millennia in a context of religion, caste and patronage. In the 20th century, craft became a key expression of nationalism and democracy that emerged following independence from British rule. The twin forces of globalisation and urbanisation are now threatening these crafts. Cheap imports undercut local markets and faster lifestyles provide less time for handmade production. But given the enduring importance of craft for identity, many seek to adapt craft traditions for the changing world.
Australian craftspersons and designers have been travelling to India since the 1970s. The culture is a rich source of inspiration for visitors. It not only provides a feast of colour, but also a love or adornment that can be applied to creative practice back home. In recent years, relationships have developed that represent more ongoing forms of partnership. These have included attempts at product development that provide alternative markets for otherwise languishing crafts.
These partnerships are likely to increase as artisans become more connected. But how can these kinds of craft-design collaborations develop beyond a model of outsourcing that takes production for granted? This is a time for new forms of collaboration that reflect an increasingly multilateral world and a maturing partnership between Australia and India.
The AIDP residency is an opportunity for an Australian designer or craftsperson to travel to India and develop ideas for potential product development.
The application must contain:
Applications are due 30 June 2011 by email to email@example.com.
For more information
This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body, and the Australia India Institute.
The Australia India Design Platform is managed by the Ethical Design Laboratory, a consortium based at RMIT Centre for Design, including researchers from Australian Catholic University and University of Melbourne. Partners in Australia include Australian Craft & Design Centres including Craft Australia, Arts Law and National Association of the Visual Arts and COFA at University NSW. Partners in India include Craft Revival Trust, National Institute for Design, the National Institute of Fashion Technology and Jindal Global University. This platform is associated with the World Craft Council and the ICOGRADA through Indigo, the indigenous design network.
The focus of the Crosshatched project this year is the mudka form, the traditional Indian water storage pot, round bottomed and full bodied, as functional as it is beautiful. It is used throughout India. The ability to cool water to a pleasurable temperature due to the evaporation of water on the exterior wall of the porous body is a sustainable cooling system we could utilize in our own households.
The Crosshatched team, traditional Indian potters Manohar Lal and Dharmveer, ceramic sculptor Ann Ferguson and myself will engage with others to generate what we envisage will be an exciting 5 weeks of ceramic cross-cultural collaborations.
There are two main activities. Tallarook Stacks. A Regional Arts Victoria funded venture where by the building technique used to make mudka will be utilized to create a community sculpture. Series of these forms will be embellished with local earth materials by the Tallarook community facilitated by Ann to come together as an installation to be sited at the Tallarook Mechanics Institute.
The other, an exhibition at pan Gallery will see the mudka in its traditional form. The potters over the time they are here will make mudka, some decorated with traditional designs some unadorned. These will be woodfired in a replica of their home kilns. These will be exhibited at pan Gallery along side mudka that will have been painted by Melbourne artists. The latter will be sold via a silent auction to raise fund for improved kiln technology in their home village.
Sandra Bowkett for the Crosshatch Team
The Regional Arts Fund is an Australian Government initiative supporting the arts in regional and remote Australia, administered in Victoria by Regional Arts Victoria
Gina Narayan is a product of the Pacific Indian diaspora. Her forbears arrived in Fiji as indentured labourers for the sugar plantations. Born as a third generation Indian in Fiji, Gina’s family moved to Australia, where she eventually developed a profession as digital marketer. But to re-connect with her past, she has taken to a much more material medium, jewellery.
Her works draws on the material legacy of her family’s journey. Most of the Indians who arrived in Fiji were illiterate, so the story of their past rested particularly on the material remnants of their previous life. The Rajasthan origins of Gina’s family were most real in the bells that they retained. Gina has developed her own line of jewellery out of her worldly experiences under the label ji – Inspirations of Fiji.
These are her descriptions of work for the exhibition Welcome Signs.
Coral and Silver coin – Red coral symbolises cultures that have come to the shores of Fiji in search of a new life (either by choice or as indentured labours). The Silver coin a significant symbol of the Indian influence in Fiji’s past.
Black Onyx and Shell – Onyx, the core of Fiji with the shell representing & being a significant symbol of its indigenous past. The red corals among the strong Onyx represent other cultures that have come to the shores of Fiji and are now an integral part of Fiji.