Suanate Apawad J ‘Craft Documentation Course Abstract ‘The term craft used in a specific:sense means those activities thiat deal with the conversion of specific materials into products, using primarily hand skills with simple tools and employing the local, traditional wisdom of craft processes. Such activities usually form a core economic activity of people called “eraftspersons" ‘The area of crafis in india is a vast one with many intertwining strands of tradition, values and culture, especially in the area of traditional crafts as practiced” over generatidns. These living crafts of India are a legacy- and’ repository: of our traditional heritage = of fotmns, motifs and craftsmanship. Traditional wisdom, folklore, the folk idiom and sensibility are vital components of ‘any erat: and are seen in the forms, textures, colours, techniques, and embodiment of culture by means of material, Each of these has evolved over a long period of time to attain particular regional characteristics that can be identified through the distinctive styles and techniques cmployed. Beauty and creativity form an integral part of craft products along:with their function and uillty value. introduction This course is expected to provide an overview and a basic understanding of crafts and an insight of our craft and cottage industry sector. in India, craft and cottage industries are a part of the vast ‘raditional manufacturing network and has its strengths and problems. Today, this sector is able to fer challenging an interesting work opportunities for the professionally trained designers. “The course offers important insiglils:to students with reference to traditional crafts that offer.a huge. potential for propelling new design directions. Course Objectives ‘The course aims at the following objectives: 1. To provide students a' firsthand experiance of craft ‘and cottage industry sector and the community (which is quite unique and vast in India) in ts on environment ‘2. To establish an appreciation and understanding of our rich heritage and vast vocabulary of craft techniques and gamut of craft activity 3. To equip the students to undertake field research using suitable, research tools wherein they directly interact with skilled craftspeople and collect information through observation, ‘enquiry, interaction with people, interviews, analyze and record data. 4. To brinig out a concise documentation on the areas of design and crafts, this has not been adequately studied and published. 5. Craft documentation should enable the student to understand craft as culture, to locate crafts holistically in the larger socio-historical context, in terms -of community, occupation, environment, religious beliefs, technology, market and trade linkages etc. 6. The documentation may help directly or indirectly the concemed crafts, It could help iti finding new markets and in developing markel supports.i i i 7. The documentation may also be useful as resource material for future work to be done by individuals and organizations concemed with the particular crafts studied, 8. The field work, the compilation of experience, the discussion with the course guide and other faculty members and experts should provide the student an’ opportunity to see hisfher role for crafts and cottage sector and realize what it means to work for this sector. 8. To evaluate the possibility of extending the traditional craft techniques to contemporary application, to working out new items for production. At a macro level, the process of documentation should. lead to an understanding of the deeper significance of design in India. 10, A document could aiso-help in the case of declining crafts to revive the © craft and develop it further. 11. To develop a respect for the craft and be sensitized to craftspersons. PREPARATION FOR FIELD WORK 1. Get a road map of the state-and on its Xerox, mark out the centres, towns, villages that have been suggested by government offices, websites and other sources of information. 2, Discuss with the guide and experts various facets of the work. 5. Visit museums if there are any, in towins of that districttaluka that you will be visiting, 4. Plan your field visit in such a manner that you firSt take up the route that takes you to the farthest point or is the most difficult of the other rouites, so thal you have easier work towards the end, when you are likely to be low on energy. 5. Let the local craft workers know you are coming, 6. Find out the days when they do not work (usually each community has specific days) and plan your visit accordingly. 7. Prepare a questionnaire as checklist to be used in the field, but it can be used to cross check at hight, once back from the field.COLLECTING DATA PRIOR TO FIELD VISIT Prior to'field study, the following is to be covered. 1 2, 10 " 12, Got an introduction letter,’ ‘Study carefully the selected documents of craft-study work done by faculty and students-craft documents at KMC, various books, etc. Tap other resources such as Publications, crafts-resources people, course guide and faculty. Get in touch with aljd source other resources: people, institutions, museums, research organizations, NGOs" craft development and marketing organizations, archival and library references to get information regarding the place, name of artisahs, ete of the craft you would be documenting, Select the specific area of study, specific craft and its location, Collect historical and anthropological information about the craft comimunity Go through websites of government such as Development Commissioner (handicrafts), Development Commissioner (Handiooms)/ Weaver's Service Centre (WSC)! Crafts Council of India/ State Tourism departments, TRIFED. You may also contact the concermed offices on phone, or pay a’ visit to get information about the crafttextile clusters in your interest area. These offices are set up in order to promote crafts and also share information about them. Contact local NGOS and other local bodies. Visit the state government handicraft emporia to check out further information about where it is made, the best quality available, etc. Understand well the aspects of the field work methodology and guidance for effective field study. Carry along and maintain field note book for field research and information and use it also like a diary to write down your daily experiences. (You may for instance, write about the touch and feel of the textile, the look of it, how did it feel to see the textile/crafl within its context of production, whether you were moved by the personality of the craft person, of certain aspects of their daily lives, etc.) Carry a half imperial sketch book for sketching on field. (For a designer, observation through sketching serves to be a prime too! for recording information)FIELD WORK: Duration of field Work: Approx. 2-3 weeks 1, Be prepared with ample amount of cutiosity (so that “see"), patience (you might not get all information easily) and high stamina-tevels. 2. Maintaining your sketch book is compulsory, For instance, sketches of the looms/toolsitextiles: have to be informative, 3, Maintain a daily diary-mostly a crystallization of your experiences at night. 4, Spend at least the first day speaking to people, observing, trying to build a rapport with the afisan group. 5, The camera can wait til the second day on-field, so that the crafts persons are comfortable with the idea of being photographed. . © 6. Make an effort to record the local terms for the raw material and key stages of production. 7. For those who wish to carry @ recorder, record a minimum of 2-3 interviews (formal recording only after you have already conversed with them on a few occasions and they are comfortable with the recording). Of course, the interviews will need transcription when you come back from the field but they increase the chance of recording many local terms and lengthy details which you might miss out in your quick notes.) 8. Even when you conduct interviews that you do not record, keep a track of the name. age, village of the petson being interviewed. The fieldwork should cover the following aspects Overview of the range and variety of crafts in location - Selected craft product range and variety = Tools, technique and process of making ~ Craft people, thelr background, community information skills, training and talents = Work environments Design development process - Market including role of promotional and marketing agencies - Problems issues and opportunities. - Case studies (at least two) - Community perception of profession = Role of trained designers ~ Experiences and learning (rom field work/course ~ Annexure: Time plan, resource people, reference ete Document ; After the fieldwork, the information and experience are to be compiled in the format, context and schedule as per disctission with the guide. Students will be expected to put together all the information study in the form of drawings, photographs, writing, etc. ard compile it in the form of a concise document. They will be submitting the document in the form of, a CD and a’hard copy of the synopsis, The document has to be compiled within one month afier field work. Then the analysis and compilation of information and experience has to be done. Finally, the students present their work in the third week of the June.¢ i DATA BASE OF PRODUCTS 1. Name of the craftiproduct , English/Lacal Language, Meaning ; 2, Location Geographical Region:, ‘State/ District / City /Town/Village/ Mountain/Desert/Coastal/Plains/Forest 8, Types of products Made: Typology Household Products Musical instrument, + Interlor Products! Masks/Props for Theatre. Ceremonial Ritual Purpose Toys and Games Folk art/Painting Toys and Games A Building crafts Footwear é Other 4.4, Specific Product Description/eralt vocabulary: Size, dimension, texture, form, motifs and patterns, detailing or joinery, Colour, Craftsmanship, design, Symbology of form 4.2 Function & use of the product/Occasion of use 4.3. Materials used 4.4 Processes and techniques used: quotable quotes by the craftsman 4.5 Product range: tradition and new; history and origin of the craft 46 Traditional design 4.7 Uniquness of Craft: Product look n fect 4.7 Changes in the design repertoire/New range: 48 Innovation in form, Innovation in Technique, material 5, Cost of Pioduct 6. Study of the craft as a livelihood, socio-economic aspects, links between the maker and the user, maker and patron or market; maker to market chain, raw material sourcing, related skills 7. Marketing: local marketiregionavinternationalnational RetailWholesale Direct marketing: haat/mela/oullet Indirect marketing: major cients/buyers 8. Volume of Production 9. Comparisons with other similar crafts & craft practices: Bring out the specific differentiations PROCESS & TECHNIQUE 1, Process of making Finishes, Tools used/Equipment used-how they are made, their significance 4. Raw Materials used Time taken for each process. Labour cost+ { CRAFTSPERSON'S PROFILE Personal 4: Name 2. Age 3, Family 4. Language 8, Educational Background 6. Experienceltereditary skill 7. Aspirations 8, His definition of crafv/quotes Socio-economic 9. Dress 10, Food: 14. Family members 12. Community 43. Religion 14, Income: Individual joint primary/ secondary 15, Personal assets: Land/House/Property/Cattle 16, Busy seasonvSlack season: 17. Employment: Self employee! employee/Member of Co-operativelMember of Association! Clients. 48, Membership of any group 49. Aspects of learning related to the craft. 20. Transmission of skills, aspirations and world view ft 21. Find examples of other creative expressions, craftsperson’s ‘elation to colleagues, ‘community, work-innovation, and creativity Environment 22. Crafisperson's house, work place, 23. Bird's eye view of the village/town/ city; Any landmarks-art, architecture or historical; market 24, Infrastructure: Communication facilities, industries; roads, transportation etc. Environmental Aspects 25. Craft and region and biodiversity 26. Awareness of Eco-friendly practices 27. Recycling of material/object Gultural Aspects 28, Festival celebrated: 29. Festivals related to the Craftimaterial 30. Myths/legend related to the origin of the craft of otigin of the universe 51. Songs related to the craft 32. Overlaps with art ete ‘Technology 32. Definition of manufacturing process: 33. Any changes/modifications made 34. Energy Sources usedSkill 35, Proficiency ‘Awardsirecognition with examples 37. Training received/Workshop attended 38. Craftsmen’s concept of quality Nature of change 39, New motifs, colours, materials and layouts: 40. How does the crafisperson respond to change; to market forces, to competition, to new work ethics, changed prosperity 41. Factors in his/her environment, profession, thinking that have contributed to expressing change and in which way (material, texture, form, colour). A traditional 42, Issues that affect development of the crafts sector in the state/region: examine and identify social, environmental or governmental legislations, oF global trends which are affecting the growth and sustainable development of the craft 43. Intervention by government and NGOs and issues resulting from there. 44, Future of the craft Situating the craft in its larger context is most importan means of interpreting many social issues and ways of life. 45, caste/social practice/religion/Gender issues: }ow crafts can be used as a Finally, remember that “every. craftsperson is a designer, not everydesigner is a craftsperson.”: i DOCUMENT STRUCTURE Front Covet (Craft, name of the place, “%:, Year) inside Cover (Craft, name of the place, Student, guide, Duration, “3%, year) Preface (About 46, Craft Documentation project, the Craft) Contents Acknowledgements / Credits. Introduction (Brief outline of location, people, geographical background, general Occupations #tc,, with relevant photographs, Systems diagram of the specific sector), Introduction to the Craft Craft they practice, Origin, evolition and current context, community, socio economic condition, tradition ete with photographs, Materials Raw material processing, properties, source and supply, cost ete with photographs.. ‘Tools: Tools used, functions of various toals at photograph or drawings. ferent stages of the process, material etc with Process: Complete processes of making the product with photographs, sequential drawing and process flow chart Work environment/Experience Marketing:. Networking -agencies involved, organization & distribution, fogistics transportation, packaging etc, marketing efforts-exhibitions, outlet sales etc, problems you find. Importance of the craft in present context Poster - Overview of the craft with all information Profile of the craftsmen Froduct photographs/drawings with details Proposed guidelines for future development Field experience / Field exposure Conclusion References Bibliography Back cover ¥ tame othe Inchubion,GUIDELINES FOR PHOTOGRAPHY 1. Photographs of the PRODUCT RANGE. Shoot them individually, and in sets (if they come. in sets), Shoot interesting and intricate DETAIL CLOSE-UPS. Carry a thick grey colored cloth that can serve as a backdrop (without wrinkles) for both dark and light colored objects. 2. Photograph the Key frame stages of the PROCESS, accompanied by a short textual description of each stage. Ideally before shooting observe the entire process once to identify the frames that will represent the Key frame stages the best: (If necessary ask the craftsman to freeze and pose). Shoot the RAW MATERIALS used for making the craft objects. if itis natural objects (like a water reed) try to get a shot if tin its natural condition. 4. Photograph the TOOLS - grouped and the main ones, individually, Note down their vernacular names and function, and if you can identify them, then its English name. ‘Mention the name of the tools when you are explaining the process. Photograph the CRAFTSPERSON in their living spaces and their work area, when they are working. 6. The LOCATION Of the craft needs to be shot - the Workspace, The Craftsperson's hotise, the street, general shots of the Village / Town / City, showing, -people and community, flora, fauna, general ambiance of the place, salient features of the place like architecture, salient natural features. 7. The MARKET PLACE for the oraft - shots of the Craft products being displayed the Haats, Mandis and bazaars, Melas, other locations (like outside temples, etc). Shots of the shop front with the product range displayed. EVALUATION CRITERIA 4, Field Work / Data Collection: 30:00 Primary Secondary 2. Knowledge / Cognitive Ski Sensitivity Improvisation: 20:00 3, Documentation / Submission / Presentation? 30:00 Content Quality 4, General Attitude: 20:00 Empathy Teamwork / Motivation