24 Oct Shibani Jain
Artisans were part of a vibrant market and their skills were refined to amazing dexterity and aesthetics.
There are over 50 varieties of cultural art alone and over 25 varieties of unique embroidered textile forms.
Apart from this, there are hundreds of crafts and woven textiles made by our talented craftsmen. Most of these are completely handmade and are skills that have been passed on and perfected across the ages.
Before the British Raj, heritage arts and crafts were patronized by kings and noblemen and many were also used as utility products in homes and public places. Art and performances were combined as spiritual discourses and entertainment for communities at large. Local homes had wall frescos and these were often a way for the community to get together and create art for an occasion like a marriage or a birth ceremony. Artisans were part o f a vibrant market and their skills were r efined to amazing de xterity and aes thetics, as is e vident on some o f the heritage monumen ts like Khajur aho’s s tonework, Taj Mahal’s marble inla y and the r efined Ajanta pain tings. Art manuscrip ts were commissioned b y Mughal emper ors to r ecord importan t e vents, local flora, fauna, etc. Books have been written to perfect the proportions of sculptural arts and painted forms like the Shilpa Shastra.
Books have been written to perfect the proportions of sculptural arts and painted forms like the Shilpa Shastra. A gradual decline began to take place under British rule and with industrialization. Many artisan communities were persecuted by the British for being illiterate and poor. Their homes and lands were seized to make way for railways and factories. Some art communities engaged with the British to push their propaganda- around their beliefs and the church. Increasingly cities like Kolkata and Mumbai, began to become the hub of income generation and money power. The rich and powerful patrons became isolated from the poor artisan producers.
Rural life and city life became major segregators leading to a decline in patronage of high quality crafts. Even after the British left, little was done to revive this major income-generating industry with the potential of creating a global advantage for India.
Designers are beginning to take notice of the incredible skills our artisans possess and there have been significant exports of high-quality textile goods.
It has been over 70 years of Indian independence and our artisans are yet to get their due place under the sun. The official census figures for 2014, show 7 million artisans.
But, experts say that it’s more likely to be ten times that figure. Much of our skilled artisans are now found in remote, conflict-ridden areas. Right from Chhattisgarh to Andhra Pradesh and Bengal, artisans are living under the shadow of conflict zones– often peppered with violence.
Artisans have no access to power, good infrastructure nor access to micro finance. We remained satisfied with the fact that Moradabad was the highest exporter of iron decorative products. But other crafts had become commoditized as cheap goods. The current generation is moving away from their ancestral activity into white-collar jobs. In the educational sector, in design and art schools, students are not exposed to this vital connect.However, in the last 20 years, there is some glimmer of hope. Three things- the internet, design and the social sector have begun to make inroads to innovation and income generation in the sector. All good design, is a reflection of who we are and what we want to be.
Designers are beginning to take notice of the incredible skills our artisans possess and there have been significant exports of high-quality textile goods. Designers are venturing into materials like brass and copper work. And the internet has made artisans accessible. They have learnt the ropes of selling directly through e-commerce, WhatsApp and other social media platforms. Artisans are getting more aware of markets and scalability requirements.They still face a big threat from automated processes that copy their designs and offer similar products at lower prices.
Chinese rip-offs, power-looms are competing in the same space as handmade goods. Customers need to be re-educated about the organic nature of handicrafts. Japan has successfully created awareness of ‘Wabi Sabi’, that of taking delight in the innate ‘imperfections’ of the hand. A lot more needs to be done for this sector, as increasingly hand skills are disappearing and yet this knowledge repository must not be lost.
Apart from Yoga, which has found a place in world markets, our handicrafts need to reach the markets who have little skills and offer expensive, handmade products.
Increasingly abroad, ‘handmade’ has become premium. We find high-quality handmade work with great craftsmanship and finish.
Europe came up with the line “The Future is Handmade” as there was realization that this connect is critically important if we are to innovate for tomorrow. It is this knowledge base that offers a perspective to who we are as a race and as individuals.The internet and design community has a big role to play in bringing crafts to the front pages of trend magazines and for contemporizing these incredible skills to preserve our heritage and generate income.
The next generation of artisans will choose to stay with their skills only if there is sustainable income to be made. Government support, low taxation on handmade goods, patronage from corporates will help turn this industry into a positive spiral. Art and design schools must build upon this immense knowledge base we possess.Handicrafts will also take a parallel path with the growth of the tourism industry which needs to support local cultural and shopping experiences. It needs to be thought of as a global advantage for India if we can showcase and expose world communities to the incredible diaspora that we can offer in every corner of India. Right from exposure to indigenous arts, to learning these incredible skills, India has a lot to offer and innovate for the future.
Handmade will be increasingly premium as automated, mass goods flood the markets. In a frenetic world, handmade is still natural, organic, humane. Infact, the handicraft industry goes hand in hand with stated UN Sustainable Development Goals that include an increasingly important concern- of climate change and environmental sustainability. For the future, Handmade needs to define a global, contemporary language, but remain steeped in local heritage skills.
Apart from Yoga, which has found a place in world markets, our handicrafts need to reach the markets who have little skills and offer expensive, handmade products. Designers need to design and collaborate with artisans as they look outward Handmade will be niche, but will be necessary to keep the link with our past and innovate for the future. Handmade will be increasingly premium as automated, mass goods flood the markets. In a frenetic world, handmade is still natural, organic, humane. Infact, the handicraft industry goes hand in hand with stated UN Sustainable Development Goals that include an increasingly important concern- of climate change and environmental sustainability. For the future, Handmade needs to define a global, contemporary language, but remain steeped in local heritage skills.
Shibani Jain
DESIGN FIELD
Skilled Labour, Artisans & Craftspersons
LOCATION
Mumbai, India
STUDIO NAME
UALab
ABOUT
Shibani Jain is the Founder and CEO of Baaya Design, a design studio and store, which focuses on innovation for interior spaces by leveraging artisanal skills. For 19 years, she has worked extensively with Indian arts and crafts at the grass-roots level and with various craft groups across the country. She also co-founded Catalysts for Social Action, an NGO dedicated to providing holistic care and rehabilitation to children in child-care institutions and orphanages.
