After talking to Roohi I realized that a lot of my understanding of the organization were true and some of my assumptions weren’t. She answered some questions I had and gave me a perspective from an organizational point of view.
- At the scale of SKKK as an organization things get rather complex as you have financial backup, there are targets to reach despite some quality glitches.
Scales make it difficult to produce all the designs and idea that are waiting in line. But the main problem is the lack of time to test the designs and then produce them. She also said that there is no sustained effort to keep things going. One needs a system put into place first.
- a big problem they have are with the cuts and sizes , however they see that locals these days don’t want to get into this vocation (more lucrative mining and other jobs such as engineering etc picking up.) Other trained professionals don’t agree to come to a village like Sandur and work.
- Many of the lambani women shifted vocations when the mining industry became big, but then they realized that the benefits that they got here, the intensity of the work and the steady income at the organization they realized was way more beneficial in the long run. Also the organization valued each member and gave them personal assistance if needed. They wouldn’t be laid off for no reason. The ration scheme is the biggest incentive. The free medical services provided by the organization are supremely underused as people have a notion of free is worthless.
- - beyond providing these schemes and helping the women with advice on financial management, in terms of personal problems , the organization cant do much unless approached. The lambani women seem to have strong cohesive bond and are very helpful to one another.
Roohi seemed to agree with my perspective of the role of the artisan as being a skilled worker, but keeping in mind her role as a value adder to the craft. Over time as the reason or the tradition for the craft changes , and it becomes just a means of livelihood there is a change from artisan to a survivor. There is a need do work, get her wages accordingly and go home and feed children rather than spend time designing and thinking. The artisans’ role has changed over the years from that of designers and creators, to just creators. The changes in lifestyle has declined the use of the traditional craft , so the organization used the dying skill and put it to alternative use to revive the craft.
-At the moment the main questions that are running through my mind are what the role of the artisan is and what kind of intervention a designer can do, without imposing ones self too much on the artisan?
After my visit to Sandur and Anegundi, and learning about the complexities of craft sectors, I feel that working in such environments by carefully planning small workshops would be a good start to getting an insight into these questions.
Considering the time that I have for this project, I feel that Kishkinda trust will be a better place for me to work at, as it is a smaller organization and more open to design experimentation. There will be a small group of women who will work with me and help take the project forward. I will be just a kick starter in a vague sense.
why intervention?
After my first visit to the organization and understanding the local context of the craft, assessing the existing resources, skills and processes as well as the products I realized that there was scope for creating new product lines using new processes and expanding the market range. The organization creates many large products like baskets, boxes, lamps etc, that are good for export markets , but the local shop.Many foreign tourists who come there look for small products and souvenirs that are relevant to their use.
Also I feel there is more possible exploration of the potential of the raw materials to create a different range altogether.
Why small products and souvenirs?
These are easily achievable in a week and a half and are a good way to test simple design. It will pose a challenge in understanding the craft and the materials and also test this understanding, as I will be able to see the success of these products.
Also so far I have had a problem in out sourcing work from others for college projects and always ended up learning the skill myself . This would give me an opportunity to learn how to communicate design in conversation and sketches.
Why paper moulding?
-The fact that the craft that is already existent is making use of waste I find very cool. When we look at the life cycle of the products , they are extremely sustainable. If we can use the same fibre waste to come up with a completely different product and different form, it would be great.
-The women seemed to be excited about the idea of making paper and doing something new.
- it would be an opportunity to experiment with the material, research on existing methods and trying to adapt to the facilities there. (electricity issues , appropriate tech, etc)
- Introducing a new craft and experimenting on it with the women would hopefully bring in ideas for them to innovate. (my assumption based on my experience)
How realistic is the scope for my intervention?
Well considering the time I have, I don’t think trying to set up an enti running paper unit is very realistic. However it helps to have Shama, who is already involved at looking at these design possibilities. I see my role as a research person and someone who could help in forming a system for creating these crafts along with the artisans. I don’t see myself as a full time facilitator . However working with the supervisor and a couple of artisans throughout the experimental process will hopefully give them a sense of ownership to the craft.
I feel a large part of my stay will go into implementing and experimenting the process, product formation may or may not happen in the duration of these two weeks. It will have to be long term interaction. The fact that the kishkinda trust is a small organization and open to experimentation will help in this.
So for me to begin any form of intervention I need to see what are the things I need to keep in mind while designing my intervention.
During this course I would like to use the participatory method in a way that I can provide the skills for the artisans and suggest some product ideas , but keep it open so that there is a lot of exploration and they come with ideas on their own.
While I was at Anegundi, I managed to get a reasonable insight into the following:
- the backgrounds and the lives of the artisans.
- Their involvement level in the craft
- Skills, materials, machinery, markets, resources, traditions
- Existing processes of the craft in terms of materials, processes, technologies and practices.
- Religious practises, social hierarchy and education systems.
- Market research, and what works, where and why.
STAGE ONE: (planning)
a. I need to understand the process of the craft (to design new products)
b. match it to the needs and trends of their market
c. look at functionality, form and match the language to that of the material.
d. look at other innovations that people have done in other parts of the world and bring it into the workshop.
e. See simple thing that have helped other organization in the process.
f. Understand the process of basic and comple paper making and papier mache
g. What are the other materials that can be combined to increase strength, decrease costs and make the process and product more effective?
h. What are the resources used in the process, and what are the issues related to those resources? (water, electricity, storage of fibre etc)
i. Understand nitty grittys like season, what are the dependencies, sun, rain etc.
j. How will the craft be sustained? Is it worth spending all the energy in order to make a product from the waste?
k. Economic factors- how sustainable is it?
l. What is the work force like? Is the process too laborious? Is it worth it?
m. What is the best way of doing it in a manner that can be taken to do mass production as well as keep it simple and effective?
n. What is the available / existent machinery that might help speed up the process?
o. What are the parameters I need to work within?
p. Look at the lifecycle and the hazards related to the product?
q. Where will the resources come from?
r. If we use bleach where is the water disposed?
s. Ways of communicating the process without making it seem restrictive, so that there is room for innovation.
t. Find source, find storage possibilities
u. Time span of the product cycle
STAGE TWO (production):
a. reality check and testing of the basic method
b. how many people to start the workshop with
c. tackling unexpected problems
d. finding solutions/ alternatives to make process more efficient
the banana fibre I need to think about the coulouring and discolouring of the products.
What are the methods of disposing water after our dyeing.
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