Visitors’ Comments - Hannah Marsden, Artist, UK
I came to visit Sasha in November 2007 during my travels of India. This was my first time in the country. I came to learn about the traditional crafts of India and discover how they are adapting to survive in a rapidly changing society, constantly caught between the pulls of tradition and the push of modernization. The people at Sasha generously opened many windows of opportunity for me to learn about their work in this area, allowing me to visit numerous producer groups and gain a real insight into the lives of India’s artisans...
I don’t have a mind for business – I’m an artist. I have always been skeptical of consumer culture – of the tendency for people to accumulate more and more products and to equate these material possessions with their personal satisfaction and happiness. However, one thing I do understand - as an artist – is the pleasure that derives from the handmade object. There exists a satisfaction that comes from making something with your own hands, from creating something that is connected to you personally in some way. The handmade object is filled with intrinsic properties: its essence. It is a physical representation of the love, labour, skill and time that has gone into its making. It emanates the culture from which it stems and embodies a certain honesty and simplicity in its being. From this extent I can understand the desire to consume these handmade objects. The items are cultural artifacts representing more than simply the function for which it is intended. It connects the consumer to a tradition of honest labour, a heritage of creativity and dexterity.
In recent history however this creative heritage came under threat by the advances of modernisation and industrialisation. Traditional artisan communities struggled to compete in the competitive market of the mass produced and rapidly became discouraged and increasingly marginalized. Sasha was founded in 1978 by a group of craft lovers who recognized that the traditional crafts were in jeopardy. They wished to share their marketing skills with the artisans with the aim to revive, preserve and develop traditional craft skills. Thirty years on, the organisation has gone from strength to strength and has greatly contributed to transforming the lives of the artisans and uplifting their craft into the realm of high-end, desirable consumer goods.
I came to Sasha to observe the impact of the changing market on the lives of the artisans and on the essence of the handmade objects being produced. I came with preconceived ideas caused by my skepticism of consumerism. I was concerned that the original essence of the crafts would be lost among the increasing pressures to make easily marketable goods. I expected to find mechanical artisans churning out products that have no significance to their culture, products that are meaningless to the maker. I soon changed my point of view. By equipping the artisans to survive in today’s world, by bringing information of contemporary market, fashion, product requirements and skills together, Sasha has in fact enhanced the essence of the handmade object.
Sasha helps the artisans to understand the demands of the contemporary market. By creating opportunities of dialogue between the producers and buyers the artisans are able to internalize norms regarding the quality of production and delivery schedules. Once the artisans understand what is required of them professionally they are better equipped not merely to survive, but to prosper in the contemporary market. Sasha collaborates with technical advisors to develop and incorporate new technology into the traditional craft process. These changes, without diminishing employment in the craft sector help to improve standards of quality and quantity, thus satisfying the demands of buyers and creating stable work for the producers. No skills are lost but are instead enhanced by creating more opportunities for the craft to thrive. At many of the Producer Groups I visited I saw how simple changes in technology have improved the working lives of the artisan.
At CSWS, an organisation dedicated to the development of one of the poorest districts of West Bengal with special emphasis on women’s empowerment, I learnt how technical developments have increased productivity. In recent years hundreds of women have participated in Design and Technical Development Workshops and Skill Up-gradation Training in Bamboo and Mat Diversification. Technical innovations have been adapted to make beautifully designed, high quality grass mats on the loom and design innovations resulted in innumerable new products, both decorative and functional. I witnessed how these changes had contributed directly to the lives of the women, many of whom had no other option for their income. They were proud of their work, happy to support themselves and their families with an honest and stable income.
At the Dhokra community in Bikna, Bankura I observed how a Technology and Product Development Project, initiated and coordinated by Sasha EDF, had significant impact on the livelihood of the artisan community. This ancient craft was rapidly becoming less and less popular, regarded by the increasingly fashion-led population as primitive and crude. Having survived solely from this craft for generations the Dhokra artisans became anxious and disillusioned. Many were being forced to abandon their heritage and turn to other sources of income. Sasha recognized the desperate situation of the Dhokra community and set about working to revive the art form. In collaboration with the Department of Metallurgy, Jadavpur University a modern, energy efficient furnace was introduced along with modified clay moulds, specialized tools and training on the effective and safe use of the furnace. These developments greatly improved productivity and reduced health and environmental hazards. This project also involved designers appointed by Sasha to develop a new product range. Numerous new items were introduced to the artisans with different looks, textures and utilities from the traditional Dhokra object.
Initially the community expressed inhibition to these changes. However after promotion and test marketing by Sasha, when orders started coming in and the benefits of production were evident they began to feel happy and empowered. The increased market penetration, including the export market, raised the profile of the craft and improved levels of self esteem and creative confidence of the artisans. Forty families in the community directly benefited with better income and employment opportunity as a result of the intervention by Sasha EDF projects!
To me this clearly demonstrates that these changes and developments to the traditional crafts have had no detrimental effect on the essence of the handmade object. On the contrary, technical and product developments are enhancing the qualities of the object. The crafts should not remain static, producing traditional items that society no longer desires. The boundaries should be constantly pushed. By widening product range, improving quality and combining traditional with modern, the crafts are moving forward into contemporary practice. With the help of organizations such as Sasha the artisans can adapt and move forward with it.
Nothing is lost. The very same craft communities that were once diminishing are now prospering in the revival of their art. They are working with the same materials, skills, and passions as they always did. Only now they can benefit from regular orders, better working conditions, fair wages and additional benefits including ID cards, medical benefits and crisis loans. Many artisans have been given the opportunity to promote their craft further by becoming involved in Fairs and Exhibitions or Training Programs across the country and beyond.
The essence remains inherent in the products. It derives from the passion and devotion of the artisans, of the strength to overcome all obstacles and to uphold their traditions in a dignified way. It derives from the honesty and community spirit that surrounds the production of the object. In conclusion, the essence of the handmade object derives from the experiences of the maker, and this will always remain so long as dexterous hands can continue to create.
