I'm done...almost!!

Its been a stressful week - In all honesty, I just didn't think it was going to get over!! But the good news is, I'm done.

I'm done!!

Yay!!!!!

Well... not completely, but my writing is over. I'm now working on InDesign. Its a total of 17,403 words. I've conducted the study in an inverted pyramid format or Funnelling Format - I've started with an introduction to the case, then moved on to my Secondary Research, which is my literary review. From there I've moved on to the 5 case studies - which is my Comparative Audit. Then, I've narrowed further in to my In-depth Analysis of Bailou, after which I have described the results of my own field test. This section includes my samples. I then created a matrix of my study. This matrix has resulted in 5 variables that I have deduced from my research, as essential attributes to Design Intervention. This section also includes my analysis, and comparison of my field test against the other case studies.

I've also gotten all my samples, and my next blog entry will have the pictures. My submission is on Monday, and I will be back in Bangalore on Saturday, the 11th of October. The sense of relief is overpowering. It's also a little scary - seems almost too good to be true!!

H-E-C-T-I-C-!-!

Hectic hectic hectic!!! Lots of work to be done in a short span of time. I have already begun my content, and as per the schedule I have made for myself, the content part of it - the written matter - shall be done by this evening.

I've reverted back to my nocturnal ways - find myself far more productive at night than I am during the day!! All I have to do is pass the 11 o clock mark. Once that's done, staying awake is not an issue!!! I'm definitely feeling more positive about this. I received my first set of samples. It was good to finally see what we had planned for. The styles are very different as the samples have come from two weavers. I shall be receiving my last set at the end of this week.

The content has worked out to be 8300 words approximately right now....!!! There is a little left to do still, and then I'll proof read it. Collating all of it - the information I have found out - has been a strange experience. There have been times when I was confused, unsure of where I was headed, with a picture in mind that wasn't always very clear. Now, putting it all down, it is quite simple how everything falls into place. The questions I had enlisted in my first proposal, the questions that came to me through the course of the project - the answers seem to all be there; I swear when clarity hits you its like a beam of light!!!!

I'll upload a few excerpts from my content once I have it all written down. Till then...

An Update, Some Clarity, My Structure

I have taken into consideration all that my panel and I had discussed, and the feedback that was given to me. I have re-read my proposal that I submitted at the beginning of my project and studied the information i have collected as well, and the main research question I have identified upon which my project is based is

What is the Importance of Design Intervention in Lieu with Sustainability of the Craft?

In order to answer this, I have come up with a structure for my information.

MACRO PICTURE OF TEXTILES ---- MICRO PICTURE OF BENGAL ------- BAILOU

To detail this out a little further,

> A basic background to understand the case. This will cover the historical aspect
of textiles, brief examples of crafts and their importance in the identity of the states
they are from (Manipur, Bengal, Rajasthan, Andhra Pradesh, Kashmir)

> The types of interventions that have taken place that has enhanced the value of
the craft and brought it to the foreground (Dastkar, Bailou, UMBVS)

> Detailed account of Bailou - the work it does, the structure, the synergy,
the weavers, their stories; a short history on this which will include
photographic and literary representation of the changes that have been
made, both in terms of products, as well as the market demand

> Example of International model of working that has been successful
in terms of sustainability (not in terms of craft, but ecology and development):
The Body Shop

> Conclusion that will include my findings, identifying problems in
the current system and offering suggestions, identifying further opportunities
for research.


I have also been given the structure that is normally followed when writing a research paper by one of my resource people, who is a Project Researcher for a non-profit research group that has been established to promote and foster best practice in sustainable development in Edinburgh. I will be following this structure for my documentation.

It has been quite a while since I last wrote and I apologize for that. A lot has happened since then - sometimes the pace seemed to pick up, and sometimes when it was so slow it was almost stagnant. I have realized that I have a severe allergy to the village, which doesn't work to my advantage at all! So, I've had to resort to daily trips in a car, which is exhausting, and cuts into extremely precious time. It hasn't been easy at all, because there are other orders that are being taken care of, and the pressure of the pujas being around the corner has caused quite a few set backs.

I have been to Bangalore for my 2nd Review Meeting and I started my review by telling my panel all that I had achieved in the last month. I had been to Fulia, and started some work there, which I have documented. It was pointed out however, that the interaction between the weavers and me had not been documented, and that I will do over the remaining time here. Many questions were asked about the direction of my project and these helped me in trying to channelize all the information that I have gathered over the last two months. The feedback given to me was

> I needed to now consolidate my efforts and work with a strong and clear focus. To do this I am going to frame one clear research question upon which my project will be based.

> By identifying this focal point, I will be able to go into a little more in detail of this angle/aspect/focal point, which will give my project a definition.

> My panel has also given me a framework with some crucial questions that need to be addressed in terms of the research I am doing in Fulia – Questions that, once answered, will give me a clearer picture of the impact design intervention will have/has had on the weaving community. For example, what have been the weaving processes and raw material used? Weavers’ lives and identities? Markets? Product? Interventions?

> I was also advised to go back to the initial proposal I had written, and re-look at what I had intended to do at that time, and see what questions I already had answers for, and what areas I have not covered yet.

> To identify my stand in the information I have collected.

The Hut with Four Looms contd...

This is a clearer picture of the hut with four looms. I've said it so many times, it sounds like the title of a story or something!!! But this is the structure of a number of huts in the village, and the looms are all pit looms, as seen in the video.

The Hut with Four Looms

This was taken more for the sounds than anything else. It was also shot in the evening when the light was very low, so I apologise for the lack of clarity.

These looms belong to Sapanda, the main weaver for Bailou. There are other groups like this too, where there is a master-weaver whom others work for. This hut has four looms in it, three of which were being worked upon at this time.

My trip was cut short by a day.... I fell ill. Its not how I planned it at all! But it's alright. I've uploaded some more pictures on my flickr account, of this trip. It was nice being there - takes a little while to get used to the silence!! But I was staying in the middle of all the weavers, which was nice. I visited my neighbours, to see the work that was going on. Some working for Bailou, some for other export houses. Lots of tangal saris. I could meet the weavers I'm working with only post seven in the evening, because that was the only time they had free. We spoke about my college, what I learn, what this project is about. We also spoke about the state of handloom, the demands, the loyalties of the weavers. It was an eye-opener, and it is a mindset. There are those few who have different ideas, and are struggling to strike a balance between what is, and what they want. For the rest, its a mindset.

The Plan...

Well...

This is a first, but I'm just going to stick to instincts!! I have decided to hold a few workshops with the weavers in Fulia. What I intend to achieve out of these workshops is a pocket of new ideas in terms of designs for the products the weavers make. But these products will be generated through a combined effort - "combined forces", so to speak. I have come across a number of different processes used for design over the past month. But my question is, which one suits the craftsman the most? Or, which one suits the craft the most? There are different paths, all leading to the same collective end - Options that are laid out in front of the designer and/or the craftsman like a red carpet. It comes down to the choice, then. Which one do YOU choose?

My Calender for the Month

-note-

Please note the link to my flickr site where I am updating the photographs of Phulia/Fulia. The current lot is from my first visit.

Minutes of my First Review

The review started with a presentation. I had summed up my month of research into eleven slides, and two charts, and I talked my panel through it. I had also determined an output for my project – a book that generates awareness about the craft sector. I stated that I wanted it to be for new practitioners of textile design, ones that are fresh out of college, or just starting out in the field. After listening to all I had to say, and asking questions related to the information I had gathered, the feedback I was given was that I should now to take a stand and include my opinion on all that I had found out. Also, on its own, to use just Bailou as a model might not create the impact I want it to, and to therefore look at other such organizations as well (e.g. Weavers Studio and SASHA), and then draw the various contrasts and/or comparisons. I will also be going down to the village to learn their side of the story, and to strengthen this I was asked to maybe hold a couple of workshops or discussions that helps me gain an insight on which form of intervention the weavers think is most apt. To help in this whole ‘ice-breaking’ situation, we also brainstormed on the kinds of workshops I should/could conduct - the outcome of which would be the main crux of my project. Ideas such as generating combined mood boards, or working with music, or with colours were some that were discussed. Also, to gain complete access to information, I would need to strike a level of comfort with the weaver and his family, and the workshops might help with speeding this process up a bit. Another thing would be to find out their interest points and talk about them, rather than go in there with a closed agenda. To do this, the IDEO cards were recommended. Another question that was put on the table was to perhaps look at other business models and see if they could be related and could in fact enhance the model that has been adopted by Bailou currently. Also, to look at models that has been used by other companies for other forms of craft. I was advised to read through Anita Roddick’s ‘Body and Soul”, and also “The Craftsman”. In terms of my proposed output, I was asked to write the preface for the book – to include what would engage the reader to go through the whole thing, “concisely packaging” my whole project into a couple of paragraphs (that would be helpful for me too). I was also advised to expand the mediums I was using to record my research, and to include film and photography as well, even if they weren’t going to be included in my final output.

My next review is scheduled for the 22^nd of September, and this month will have a lot more active hands-on work that will be included. The last month had been my groundwork, so the pace of things should pick up now.

18th August, 2008

Slides From My Presentation...

A Fresh Start

Alright...

I have just returned from my 1st review, after starting this project. Needless to say, I was looking forward to it. Going back to Bangalore was a little strange. The pressure there is completely different. The tension in the air is so tangible, you can taste it. But there's an underlining excitement. This is what we've been building up towards!! I'm not going to be left out! Trying to replicate the tension back in Kolkata is a completely different ball game! I feel like I'm being left out of something here. Like I'm not a part of it. And it's lonely here too... It feels like a neither here nor there sort of situation.
But on the positive, I'm going to Phulia on Sunday, for my first recce. from the following week onwards I will be shifting there for longer periods of time. so, fingers crossed!

Embroidery v/s Print

Bappa and Rumi design all the products that Bailou makes. And they have very different ideologies! They have different tastes, and mannerisms, and lean towards different aspects of textiles. Rumi says she is more inclined towards embroidery - that she always has been. Bappa, on the other hand, is more inclined towards print. But they both agreed on the fact that nothing was going to take the spotlight away from the weaves.
Solution? They set up a printing unit in Phulia, where they block-print on warps. And in terms of embroidery, they've introduced sequence, tassles, high twis-yarns etc to the weft.
The son of one of the weavers now runs the printing studio. He also has a unit of six looms under him. He learned the technique of block-printing from Bappa, and now manages it on his own. As for the embroidery, the women in the weavers' families make the fancy yarn. For a metre (depending on how many sequins or tassles are added) they are paid about Rs.1.50. As a result, the weaver is profiting more than he had before, and more than he had imagined.

Bailou calls it 'GLAMORIZING THE HANDLOOM'!

It's quite simple really. You just have to want it bad enough!

Detailed Structure

WHAT TYPE OF WEAVERS WORK WITH BAILOU?

• Jacquard: Complex weaves, double cloth

• Jaamdani: extra weft fabrics

• Chittranjan Loom: thick cotton fabric

• Dhoti weavers: fine cotton weaves of mul-mul

WHY NOT EXPORT?

• Started as export

• Problem lies in the fact that a wall is built up between the actual clients and the supplier: in this case, Bailou.

• Bailou doesn’t depend on trends or forecasts to keep up with the market’s growing demands and needs. Instead, it feeds off the feedback it gets from its clients. This constant loop is necessary for Bailou to keep itself up to date.

• The problem with export is the wall created between the supplier and the client through the distributors is that the loop is broken.

• Current foreign clients: Canada, Denmark, France, Australia, The United States, Japan, and Israel.

THE SYSTEM OF WORKING

Before Bailou,

• Weavers worked under the Mahajan system, or the Union system and were not paid per order, but instead, they were paid monthly.

• The Mahajan also kept lending the weaver money whenever he required which kept him in constant debt.

• There was no profit made by the weaver.

• But, there was a steady stream of income, however low it may have been.

After Bailou started out,

• The weavers were being empowered and made to stand on their own two feet.

• Since they had started small, there was only one family working with them, which meant two looms.

• So, initially, they worked with Direct Vendors as well.

• Direct Vendors are those who take care of all the pre-processes such as reeling, winding, dyeing, etc. They can also get the weaving done. But Bailou stopped using this assistance as their designs started being copied, produced, and sold without their permission.

• Bailou controlled the pre-processes, and the procuring of yarn, and the weavers wove the products.

Now,

• 250+ loom stage.

• It’s more of an independent process – where the weaver has a say in the work he is doing.

• The weavers do the yarn procurement, the winding, reeling, dyeing etc.

• The designs are given to them, and they weave the products.

• Bailou then buys these products off them.

• Bailou has set up a dyeing unit, which the weavers may use if they want: more often then not, they use it, to cut down on extra expenditure. This was set up for quality control.

• Bailou has extended the work to the women in the weaver’s family too. They do all the pre-processes. They also do the final twisting at the ends of a piece (stoles), and the make the fancy yarn. They get paid for this separately.

• There are another group of women who have been employed to do simple kantha work on some of the products.

• The amount spent on each piece is rounded off, and the weaver makes a profit on ever piece of work done.

I'm getting stuck. Things seem to be going so slowly. And I'm scared. Should I have done something else? No. This is what I want to do. This is what I'm interested in. Then why does it seem as though all my avenues are closing in on me? I will hopefully be going to the village at the end of this week, or the beginning of the next. Bappa's gone to Assam for a workshop, and he'll be back on the 7th, post which, we will make a field trip. I really want to go to Phulia, now... I feel there'll be more to learn and see there.


Wish me luck.

The breakup of the production side.

http://lotushaus.typepad.com/lotushaus/interior_design/

An interesting site. There's lots happening in the realm of sustainability and eco-friendly environments. It's a good feeling - the awareness is so much more now. Maybe we can hope for better (since we can definately not hope for best.... yet!!), rather than the worst case scenario?

Starting Off...

After the initial conversations that I had with Bappaditya and his wife Rumi, I found myself in the midst of a lot of information I hadn't accounted for. As a result, I didnt know what had hit me, or where I was going! One thing was clear - I needed to take stock of the situation and I needed to do it fast, because otherwise the hysterics that were fast rising in my throat would get to me, after which all logic would fail!! So I made this chart. This is how I intend to work my information. I am using Bailou as a model, or an example of design intervention that has kept in mind the fundamentals of sustaining the craft. Understanding the organization in a systematic way, I feel, will give me a clearer picture on the effort that is being made from one who has an academic design background. Once I jot down all aspects of this level, I intend on going into the village, and doing a similar break-up of their rural set up. This, along with the information I hope to gain on the state of the craft before Bailou entered the scene, and the origins of it, will give me the base on which my document will be built.

So far I have dipped into the first level of this chart. I have started my cross-section of Bailou, and its departments in Kolkata and Phulia. I have been introduced to the Kolkata Team, and I will be starting my conversations with them from tomorrow. So here starts the Kolkata Journey. I'm going to stick to the theme and call them The Shafts. The Phulia 'gang', so to speak, shall be called The Shuttles. (I have a strong imagination, but thats as close to 'The Jets' as I can get in weaving terminology!!)

note to self: Perhaps I should illustrate it as I go along? I say this, because each conversation I have gives rise to really strong images in my head. Lets see... I'll keep this a thought bubble, and when the next image comes along, I'll try sketching it out. If it works - well – that’s a new aspect to the project right there!!

"...a common trend in Third World Countries is importing design from other countries under the name of collaboration. Apart from the disregard to the difference in culture, climate, social and economic contexts, such a trend eventually kills indigeneous creativity and creates dependence."

- S. Balaram
'Thinking Design'

My Proposal: The Design Brief

To study the lives of the weavers of Bengal, as they work under a mode of design intervention, in order to

1. Better my understanding and grasp of the subject of textile design, and of the importance of the involvement of designers in the craft space.

2. In doing so, redefine the context for design intervention in similar craft scenarios.

3. Identify new markets and opportunities for design intervention and sustainable livelihoods for the Bengal weaving community.

4. Understand, streamline and add value to their Intervention process while studying it for a period of three months.

Hypothesis

I believe that textile design, within the context of this country, is closely related - even dependent on the sustainability of traditional craft. Unfortunately, a gap exists between the two, making it seem as though the two are unrelated, yet design is integral in sustaining the craft. I feel, however, without the existence of traditional knowledge, Indian textile design will lose its inherent richness. Therefore, to gain a holistic understanding of the subject, and in order to be a successful practitioner, it is essential to understand this relationship and synergy.

Background/Current Scenario

In ‘Designers meet Artisans – A Practical Guide’ by the Crafts Revival Trust, it is stated

“Designers are an interface between tradition and modernity, helping match craft production to the needs of modern living.” And that “crafts need designers to bridge the gap and allow them to compete with products and practices of modern industrialization.”

I believe that in the context of this country, to be a successful textile designer, one must have an understanding of the handicraft that is produced, as it forms a part of our culture and heritage, and this plays a very important role in modern textile design. Textiles from across the country form a map of the area it originates from, defining it in terms of colour, detail, motif(s), and patterns. It defines the people – their sense of aesthetics. It defines the State in terms of the raw material available, and the need for certain fabrics. Each region has its own such set of ‘guidelines’, if I may? This craft originated from a need, and has become an identity - the craftsmen sustaining themselves, and their professions. With the emergence of “modern industrialization”, however, these craftsmen seem to find themselves at the bottom of the food chain, so to speak, as newer, more advanced technology takes over, and the impact of Western cultures define the aesthetics for the consumer. “The designer has thus emerged as a critical intermediary whose function, ideally, is to bridge the gap between the rural artisan and the urban client. This is all the more important at a time when the artisan may no longer be a designer, producer, and marketer rolled into one, as he/she was in the past”. The artisans seem to have lost the direct contact they once had with the consumer, and therefore are no longer attuned with their current needs and demands.

There has always been a great market for Indian textiles abroad – dating back to the Fourteenth Century. In reference to Bengal, the first few trades that have been recorded date back to the time of Vasco da Gama in 1578 AD. The quality of the work that was traded then was said to be “the finest ever seen”. Once the English East India Company took over, vast amounts of trade, I terms of textiles, took place - especially since indigo was grown in abundance here. With the onslaught of the Industrial Revolution, which took place post independence, machine-made goods came into the limelight. Textile companies from all over the world invested in India for their production. Today, the demand for the “Indian textile” has risen to another level, giving it a glorified position. ‘Designer ware’ and ‘brand consciousness’ holds a very high position in today’s urban markets. Indian textiles form an integral facet to ‘Brand India’, as part of its ‘image’ as it sells itself to the rest of the world. With the emergence of the Industrial Revolution, power looms, and the concept that ‘time means money”, however, the original craftsman was still the one who found him/herself without a job. Hence, the emergence of the need for design intervention/s.

I understand the need for such intervention at a time when the craft itself was losing its value, but what I question is whether there is a continuing need today when the awareness amongst people is so much more, and “sustainability” is the new buzzword. I feel, what started out as a method to ‘bridge the gap’ has turned into a few rope-bridges across the two, but somehow the crevice has stayed as wide, with no inclination to move towards one another, in a hope to merge at some point. Academic knowledge in terms of design seems to hold the upper hand, and the craftsman is becoming more of a tool than a resource. For example, the method that a craftsman has used over the years to sustain his/her craft, versus the knowledge a designer learns of sustainability through design processes, and guidelines. What will happen if the two should merge? Does it make it a stronger ground for sustaining the craft?

Why me?

My interest in this particular project originated with my internship where I worked with Weavers Studio – a textile house in Calcutta, where Indian textiles are being put in the foreground and sold to markets abroad. Weavers Studio offers jobs to not just weavers, but printers, dyers, master craftsmen in various types of surface embellishments and the like. It has helped them understand the consumer of today, teaching them newer techniques that are not restricted to traditional Indian patterns, but international techniques as well. It is one of the biggest users of natural dyes in its products, promoting the use of indigo – a dye that is indigenous to Bengal. But somehow I found myself wondering about the weaver and his traditional knowledge. What had changed in his knowledge of the craft? Is knowing the technique enough to brand him a ‘craftsman’?

The next example I came across, as a form of design intervention with similar weavers of Bengal was Bailou – the organization I intend to work with to further my study into this subject. Bailou started as a diploma project for Bappaditya six years ago, as he attempted to work with the weavers of Shantipur to produce his designs. Being declined at first by the Weavers Union, he appealed to the weavers once again, and was accepted by a single weaver who offered one out of the two looms he owned. Today, there are one hundred and fifty weavers working with Bailou. They are mostly sari weavers who traditionally work with different types of sari weaving techniques (e.g. jamdaani, dhakai). What I find most appealing about their work is the understanding they have jointly obtained of the various types of weaves that were traditionally used; thus allowing them to break its pattern, yet keep its fundamentals intact. I find the subtlety used in the products extremely inspiring as it uses the medium of weaving to its full potential – no surface textures or external embellishments are used. It directs the attention of the consumer to the fabric and its qualities alone. There is a dialogue between the designer and the craftsman, not a form of dictatorship. Bailou believes that the weaver should not be asked to move his workspace to that of a factory setup, as his home is conducive to the making of the product, where each member of the family has a role to play. I propose to study this aspect in detail. Have the design processes used here in terms of intervention enhanced the chances of the craft being sustained, and widened the scopes of its markets? Does this work better than giving the craftsman an opportunity to work with his craft, yet not be involved in the creative input? What is the importance of design intervention in lieu with sustainability? Is it just to provide jobs for the craftsmen, or empower them?

I intend to study this example of involvement in West Bengal, with the weavers as they struggle to sustain their craft in order to understand another facet of intervention within the same craft. Through this study, I aim to gain a firmer grasp on the situation, that will help me make my decisions as a practitioner in this field, and perhaps, further the awareness that is being generated, thus assisting in the formation of that point of intersection between craft and design.

Research Questions

• What is design intervention, and what is its need?
• What is the need for Bailou, specifically to this group of weavers?
• How has this particular intervention helped in sustaining the craft?
• What is the role of the craftsman?
• Has Bailou improved any of the previous working conditions for the weavers?
• Sustainability: Academic knowledge v/s Traditional Knowledge

- Is there a difference between the two?

- Which works better?

- In the current situation, which has more influence?

- By merging the two, is there a possibility that the craft may be sustained more effectively?

Other smaller questions that intend to answered by responding to ones stated above

• What is Craft?
• What is the need for this craft?
• What is Bailou?
• Why was it started?
• What does it do?
• What kind of products does it produce?
• What is the need of the weaver?
• What did the weaver traditionally do?
• How did the weaver learn to weave?
• What does his family do?
• Does he have children?
• Does he want them to learn the craft, and carry it forward?
• Do they want to learn the craft?
• Why/Why not?

This is one of the first mindmaps I did before I started my project to help get the ball rolling.