15: Crafted Objects As An Economic Asset
While in India, I incidentally came across an interesting book on material culture, published by Rawat Publications; the publishing department of the Indira Rashtriya Manav Sangrahalaya ; India's National Museum of Mankind. What a beautiful name for a museum. A small branch of that museum is in Mysore. I visited, and while there we were the only visitors. However small, the collection on display is beautiful and actually quite moving.
The atmosphere was rather sleepy at first. But the warden became enthusiastic about our long and dedicated visit, so he openend new rooms for us. He had no real knowledge of the collection, but was utterly kind. On a mission to cultivate craft and cultural heritage, there is still a lot of work to do for the museum. This year's exhibition is 'Deepam' meaning 'light'. Oil lamps of various material and districts are shown in an almost non-designed exhibition space but in its simplicity it is quite beautiful. Documentation was just a bit too poor; type and tribe or district were mentioned, but not the usage, the year of production or any other detail that might be of interest.
The atmosphere was rather sleepy at first. But the warden became enthusiastic about our long and dedicated visit, so he openend new rooms for us. He had no real knowledge of the collection, but was utterly kind. On a mission to cultivate craft and cultural heritage, there is still a lot of work to do for the museum. This year's exhibition is 'Deepam' meaning 'light'. Oil lamps of various material and districts are shown in an almost non-designed exhibition space but in its simplicity it is quite beautiful. Documentation was just a bit too poor; type and tribe or district were mentioned, but not the usage, the year of production or any other detail that might be of interest.
The book I encountered in the tiny museum store, Gendering Material Culture, is edited by Subhadra Mitra Channa and Kamal K. Misra (2013).
A collection of essays on the role of gender in various aspects of Indian material culture, it contains some interesting points of view in the field of this SDG12-essay. Both editors write in the introduction about material culture in general, and the cultural connotation of objects in that regard.
A collection of essays on the role of gender in various aspects of Indian material culture, it contains some interesting points of view in the field of this SDG12-essay. Both editors write in the introduction about material culture in general, and the cultural connotation of objects in that regard.
Some quotes:
"The existence of a physical material by itself does not make sense to us as human beings, unless it is absorbed as part of our cultural repertoire..... For example a rag and a dress may be of the same physical composition but mean vastly different things and cannot be culturally equated." (p2)
"Things are known by their form, shape, design and the meanings assigned to these shapes and forms by the collective imagination and social norms...Entities become objects also through the relationship between people, for example something becomes a gift or an offering or becomes a sacred entity through association with the supernatural." (p3)
Although objects are cultural symbols and are closely associated with the cognitive domain such as values, ideas, attitudes and assumptions of communities, they have also certain common utilitarian values transcending cultural borders. A knife or a blade across cultures is largely used for the purpose of cutting. It's size, shape, texture, material and design may vary according to the physical and cultural conditions of its makers." (p5)
In chapter 5 Charu Smita Gupta dives into the social roles of men and women in the craft industries in India, focusing on the gendered and caste division of labour. Traditionally men had the status of skilled work, however much of the work was done by women. Their labour was done within the domestic household and therefore not recognized in its importance; the men's work was done in the so-called public space such as the court workshop or a verandah. Also, women were not allowed to do the work while having their menstrual period. But some major transitions have been, and are still, taking place. Upward mobility (e.g. education), less strict rules regarding menstrual cycli, government promotion for crafts and disintegration of traditional social practices (inherited occupations decreases) changes the craft culture in India enormously.
Gupta:" The process of industralisation has given handlooms and handicrafts a back seat in the developed countries. In India, however, both these skills, which were disappearing, are given the support for manufacturing and marketing at several forums and even the state has been involved in reviving these traditional skills. The booming fashion industry and the expanding markets have created a renewed interest in traditional handicrafts and textiles" (p103)
"Today, after more than sixty years of the formation of Indian Republic, there are further changes in the domestic production units. The households where men are engaged in alternate professions women have formed their own cooperatives. They are now able to independently carry out the works of procuring orders, production and marketing the finished products and handling of cash and accounts without the intervention of men. (p105)
"A very interesting situation which is emerging today is that a new range of commercially viable crafts has come to the market, and that women have not only entered the market but also gained self-respect and confidence." (p111)
If we now visualise the addition of both essays to my SDG12 research, it looks like this:
Production Cultural connotation
Market Object Material
Development Utilitarian value
In SDG12-words: if we know who made the object, if it's good enough to be used for a long time, if we can relate to it, if the material is sourced carefully, if production is done in a fair way, if the market is created based on longevity, we have a sustainable production and consumption pattern.
In this regard an initiative in India came to mind that can function as an example; Bagru Textiles which is showcased beautifully on the website of Freunde von Freunde. The centuries-old craft of block printing on fabric which is still done in the same way, but through different communication, storytelling, and cooperation between block-designers, printers and the current market is has become a sustainable and fair business model.
(both photo's from Freunde von Freunde)
Fabindia is another example of a profitable fair business; great designs, good quality and strong communication. Kishkinda Trust and Uramma Crafts are two small scale projects that I visited. Both work with local women and locally sourced material. In fact they also have an environmental aspect; the raw material they mainly work with are the stems of the water hyacint that chokes the river and by harvesting the plants, the river (and all that lives in it) doesn't die. It's a lovely and important initiative. The product designs could do with some upgrading, but they do what they can with the means they have.
India has become quite successful in making crafts an economic asset; a growing profitable business. Here crafts are still sold in a rather niche market and handmade objects are often from abroad. If wages here are too high for handmade crafts on a larger scale, it's great that we can import them from countries such as India. But it should only be done as long as it's done with fair and sustainable trade: wages and working conditions should be good according to local standards, source material and manufacturing processes should be of no harm for the environment. And with all these conditions profit should also be in the hands of the maker. Unfortunately poverty is one of the main concerns in this huge country, as well as working conditions in many industries. However, the given examples show development in the right direction. I will get back on the business model of Fabindia in a later chapter.
In chapter 5 Charu Smita Gupta dives into the social roles of men and women in the craft industries in India, focusing on the gendered and caste division of labour. Traditionally men had the status of skilled work, however much of the work was done by women. Their labour was done within the domestic household and therefore not recognized in its importance; the men's work was done in the so-called public space such as the court workshop or a verandah. Also, women were not allowed to do the work while having their menstrual period. But some major transitions have been, and are still, taking place. Upward mobility (e.g. education), less strict rules regarding menstrual cycli, government promotion for crafts and disintegration of traditional social practices (inherited occupations decreases) changes the craft culture in India enormously.
Gupta:" The process of industralisation has given handlooms and handicrafts a back seat in the developed countries. In India, however, both these skills, which were disappearing, are given the support for manufacturing and marketing at several forums and even the state has been involved in reviving these traditional skills. The booming fashion industry and the expanding markets have created a renewed interest in traditional handicrafts and textiles" (p103)
"Today, after more than sixty years of the formation of Indian Republic, there are further changes in the domestic production units. The households where men are engaged in alternate professions women have formed their own cooperatives. They are now able to independently carry out the works of procuring orders, production and marketing the finished products and handling of cash and accounts without the intervention of men. (p105)
"A very interesting situation which is emerging today is that a new range of commercially viable crafts has come to the market, and that women have not only entered the market but also gained self-respect and confidence." (p111)
If we now visualise the addition of both essays to my SDG12 research, it looks like this:
Production Cultural connotation
Market Object Material
Development Utilitarian value
In SDG12-words: if we know who made the object, if it's good enough to be used for a long time, if we can relate to it, if the material is sourced carefully, if production is done in a fair way, if the market is created based on longevity, we have a sustainable production and consumption pattern.
In this regard an initiative in India came to mind that can function as an example; Bagru Textiles which is showcased beautifully on the website of Freunde von Freunde. The centuries-old craft of block printing on fabric which is still done in the same way, but through different communication, storytelling, and cooperation between block-designers, printers and the current market is has become a sustainable and fair business model.
Fabindia is another example of a profitable fair business; great designs, good quality and strong communication. Kishkinda Trust and Uramma Crafts are two small scale projects that I visited. Both work with local women and locally sourced material. In fact they also have an environmental aspect; the raw material they mainly work with are the stems of the water hyacint that chokes the river and by harvesting the plants, the river (and all that lives in it) doesn't die. It's a lovely and important initiative. The product designs could do with some upgrading, but they do what they can with the means they have.
India has become quite successful in making crafts an economic asset; a growing profitable business. Here crafts are still sold in a rather niche market and handmade objects are often from abroad. If wages here are too high for handmade crafts on a larger scale, it's great that we can import them from countries such as India. But it should only be done as long as it's done with fair and sustainable trade: wages and working conditions should be good according to local standards, source material and manufacturing processes should be of no harm for the environment. And with all these conditions profit should also be in the hands of the maker. Unfortunately poverty is one of the main concerns in this huge country, as well as working conditions in many industries. However, the given examples show development in the right direction. I will get back on the business model of Fabindia in a later chapter.
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