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Crafting design changes
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Introducing innovations in craft design is symptomatic of change in society. The need of the hour is to go for new designs within the parameters of the traditional framework of crafts as was evident at a recent workshop on `Design innovations in craft' held at the National Institute of Fashion Technology, writes RADHIKA RAJAMANI.
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INNOVATIVE LOOK: Traditional vessels used as flower pots and planters.
VERY OFTEN you stare at a marvellous piece of craft and have been doing so for many years. But do you sit back and ponder about its origin or how it took shape over a course of time? The evolution of craft in a society is an interesting phenomenon. It harks back to the ancient times - the period of the Stone Ages and civilisation. As man progressed so did his intellectual and technological skills. The wheel, which was an important invention after fire, revolutionised the society of those times. Pottery became a craft integral to society and as man began to live in settlements and communities, the services of craftsmen like potter, carpenter, metalsmith, weaver became an essential component of village life. The self-sufficient villages had their own crafts and craftsmen supplying items. But change had to set in, because, after all, the village economy was not static. These changes too were reflected in the nature of items wanted by people. So what was perhaps produced by hereditary craftsmen for centuries had to change because society had marched ahead, the people's tastes varied and a particular item became non-viable. This is where the concept of design sets in. A recent seminar at NIFT explored this idea of `design innovation in crafts'. Guruji Ravindra Sharma of Kala Ashram, Adilabad and Prof I.S. Mathur, N.I.D. Satellite Centre, Hyderabad provided their perspectives on this aspect.
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One may ask what is the necessity to innovate? A craftsman who does not keep pace with change is bound to lose his clientele who may shift to machine-made goods or to others who innovate. It is in the nature of human beings to be interested in looking and using a new product rather than only age-old ones. One has read about how the British economic policies sounded the death knell of Indian handicrafts and left many a craftsman impoverished. The craftsmen too could not keep pace with the changes wrought by the Industrial Revolution and lost out in the face of cheap machine-made goods. It was and is the question of livelihood for the craftsmen/artisans. An item may lose some of its utilitarian value in course of time. So one has to adapt it to prevent it from becoming redundant.
Guruji Ravindra Sharma questions whether designing should be done only for such survival or is it correct to have an ulterior motive for designing? He states "society does not have a choice of its own. The designer dictates the choice. Whatever is put in front of people will be eventually accepted. The designer is the one considered responsible for design. Whatever a designer makes is assumed to be good. Hence, society will accept whatever a designer gives them. Now it becomes the duty of the designer to decide whether I should design for myself to survive or whether my designs should cater to the need of society. I should create what society needs." Here, the craftsman is invariably the designer too.
TALKING DESIGN: Guruji Ravindra Sharma (right) at Kala Ashram in Adilabad
On the contrary, I.P. Mathur makes a distinction between the designer and the craftsmen. He feels their roles are different and one must draw a line between functional and non-functional crafts. Craft development served a function and aimed at self-satisfaction. It is imperative for the designer to think on how to interact with craftsmen. Therefore, Mathur argues that designers should be sensitive.
In today's context where there is rapid urbanisation the tastes and choices of people has undergone change. The wants and requirements of the urban clientele may not tally with their rural counterparts. Also, in this era of change they would also prefer the same change in crafts. Today there are quite a few heritage crafts, which have come under the ambit of design innovations. A craftsman generally does not prefer to make a paradigm shift from what he has been doing for generations. So a suggested design intervention should not change the product drastically as this may prove disastrous. After all, one has been working in a hereditary capacity for generations and to change suddenly or overnight would prove ruinous. What one has to do is perhaps innovate within the existing traditional skills. One can contemporise their product to make it appealing to today. Age-old crafts, particularly heritage ones, have to undergo change to suit the needs of the urban clientele as they may not want to purchase the repetitive stuff they have been taking over the years. Eventually the whole issue boils down to marketing. Those who do not innovate languish.
TRENDY & TRADITIONAL: The Bidri box has a modern motif
Over the years, some councils and non-governmental efforts have focused on innovations in crafts. The Crafts Council of Andhra Pradesh has been trying to innovate within the existing parameters. Design inputs have been provided for a variety of heritage crafts from Kondapalli toys to silver filigree of Karimnagar. For example, the Etikoppaka craftsmen had for years been making cooking sets as toys. Some of the items do not even exist today and the present generation cannot relate to them. So some changes like pressure cooker, gas stove and others which today's children see around them are introduced. Similarly, some marginal differences are introduced in the silver filigree of Karimnagar. Instead of peacocks and models of Charminar utility items like plates, cups, boxes and so on are made besides a model of Hi-tec city.
Innovation, in a way, has a bearing on the sustenance of the artisans/craftsmen and their ability to preserve their traditional skills. The need of the hour is to innovate but not at the cost of the craft losing its distinct identity. Inducing distortions and making senseless objects may prove counterproductive. Instead, introducing designs or new themes within the traditional framework like introducing or adapting the craft to other uses would help in the survival and growth of the craftsmen and his craft.
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