CRAFT IN INDIA SERIES‘ - YES Global Instituteyesinstitute.in/Compendium/Compendium-Craft in...
Transcript of CRAFT IN INDIA SERIES‘ - YES Global Instituteyesinstitute.in/Compendium/Compendium-Craft in...
We are proud to launch this unique ‘Craft in India’ series
through YES CULTURE – an initiative that is committed
to the revival, preservation and sustenance of India’s
heritage. The historically imbibed plural aesthetics
of the Indian handicrafts are priceless economic and
cultural assets of the country. The production of
handicrafts is (after agriculture) the largest source of
income among rural populations – an estimated 11.65
million Indians were engaged in craft production in
2013. This is expected to grow to 13.93 million in 2017
and 17.79 million in 2022. India has highly skilled
and trained artisans or karigars, and we must share
the responsibility to further boost their livelihood
prospects. We need public-private engagement in this
segment more than any other, such that the original
and historical ‘Make in India’ products can be revived.
Crafts are not only our heritage, they are our global
comparative advantage.
A strong impetus needs to be given to the crafts
industry. Through the ‘Craft in India’ Series, we intend
to promote the rich cultural traditions of India’s
crafts. We are fortunate that India’s past has given us
innovative crafts. In this age of design, we believe that
India must leverage its strength in creative crafts to
position itself as a global power.
MD & CEOChairman
MD & CEOChairman
RANA KAPOOR
RANA KAPOORChairman
MD & CEO
RANA KAPOOR
RANA KAPOORChairman
MD & CEO
RANA KAPOOR
RANA KAPOORChairman
MD & CEO
RANA KAPOOR
RANA KAPOORChairman
MD & CEO
Rana Kapoor
Rana KapoorChairman
MD & CEO
Rana Kapoor
Rana KapoorChairman
MD & CEO
Rana Kapoor
Rana KapoorChairman
MD & CEO
Rana Kapoor
Rana KapoorChairman
MD & CEO
MD & CEOChairman
MD & CEOChairman MD & CEOChairman
MD & CEOChairman MD & CEOChairman
MD & CEOChairman
PREETI SINHAGlocal Convenor Senior President
PREETI SINHAGlocal Convenor
Senior President
PREETI SINHAGlocal Convenor Senior President
PREETI SINHAGlocal Convenor
Senior President
ABOUT THE ‘CRAFT IN INDIA’ SERIESTraditional craft techniques are emblematic of a living
heritage and provide employment to 7 million people
in rural India. According to the United Nations, over
the past 30 years, the number of Indian artisans has
decreased by 30%, indicating the need to re-invest in
artisans to safeguard history, culture and an important
source of livelihood. YES Global Institute’s ‘Craft in India’
Series attempts to spark a dialogue around various
facets of the crafts industry and recent trends that
are acting as a catalyst for its cultural and economic
rejuvenation and growth. In this age of design, we
believe that India must leverage its strength in creative
crafts to position itself as a global power. The ‘Craft in
India’ banner encompasses several topical symposiums,
initiatives and workshops to define the debate within
crafts and creative industry.
LIVING THROUGH THE CRAFTS: REINVENTING TRADITIONAL EMBROIDERYAPRIL 2016
Laila Tyabji, Craft Revivalist in conversation with Asif Shaikh, Master
Embroiderer and Ashdeen Z Lilaowala, Textile Designer
Hand embroidery as a technique in India has not only animated and
embellished textiles for generations but has also narrated the tales of
aspirations and perseverance of the practicing communities. An organic
or constructed trail of threads, beads, sequin interwoven together to form
motifs, textures variably signify identity, traditions and attitudes of both
the makers and consumers of these sewn patterns. The panel discussion
‘Living through the Crafts: Reinventing Traditional Embroidery’ through the
language of embroidery construed certain issues of identity and sustenance
not only of the crafts, but also of communities. Discussions centered around
vital channels of design development and entrepreneurial support which can
be put in place to empower artisans in the rural hinterlands, given that they
already have a proficient skill set.
Embroidery samples on display
Ashdeen’s Parsi Gara Embroidery detail
An engaged audience
(L to R) Asif Shaikh, Laila Tyabji, Ashdeen Z Lilaowala and Preeti Sinha
LAILA TYABJICraft Revivalist, Founder of Dastkar, Padma Shri Recipient
The statistics are that around 10% of the craftspeople are leaving
the sector every 10 years. But it is interesting that there are two
places in India where young craftspeople are willing to continue.
One is in Kutch, where so many people have gone and worked and
have realized that there is a future, both social and economic. And
the other is Kashmir where there are few opportunities for the
young people and they are continuing in crafts.
ASHDEEN Z LILAOWALAAuthor, Textile Designer and Reviver of Parsi Gara Embroidery
Motivation can lead the generations to take forth the craft! In
my production house, all craftsmen are from the same village of
Bengal. It started with one man who went to his village and his
people realized that he was earning more than they were from
farming because they didn’t have any land left. Others slowly
followed and drew towards the hand embroidery sector forming a
new crafts settlement. However, sadly not all craftsmen can adjust
to the demanding city life, and retreat.
ASIF SHAIKHMaster Embroiderer, Textile Curator based out of Ahmedabad
The crafts sector needs dedicated design schools and a structured
curriculum to advance the knowledge of artisans to meet the
demands of the contemporary national and international market
besides a dedicated focus towards business development and
marketing training. Quality and innovation give huge leverage to
artisans, who are skill proficient and more conversant with the
techniques that shape the product. Credit sharing and recognition
are the best form of gratification for artisans who have over years
been attributed as skilled labour.
Detail of hand embroidery in Asif’s workshop
India’s cultural diversity is our greatest strength and a phenomenally untapped resource. Crafts are not only our heritage, they are our global comparative advantage.
Laila Tyabji chaired the moderation and set an urgent enquiry into the ‘idea of rootedness’ of the craft in the time of expedient adaptations in view of rampant technological availability and tough survival prospects.
‘Craft in India’, as a parallel label to ‘Make in India’ is highly suited to take India’s arts and crafts heritage to the world. It steers the debate away from the mass manufacturing model of economic growth and mono-culture, spawning ecologically friendly and people powered ‘Swaraj’.
Quality and originality are the key differentiators in the contemporary creative industries.
The movement towards artisan-designer collaborations and design led interventions are revitalizing the traditional ecosystem.
Artisans feel empowered when they perceive their role as ‘design enhancers’ and ‘entrepreneurs’. The nature of contribution of the artisans transforms radically when they feel respected and valued.
The artisans welfare is critical and can be achieved through fair wages and recognizing their right to a good quality of life. Instead of daily wages, the focus should be on their monthly salaries, incentives and quality engagements such as tending to their children’s education needs.
While communities practice several crafts forms for livelihood, it is imperative that the native community represents the craft technique and form at national and international forums to carry the legacy forward.
There is a need to draw the line between century old traditions and new age innovation in the interest of artisans. Technology can expand the existing parameters of aspirations and innovation while holding on to the original essence of the craft, retaining ideas and techniques that characterize it.
Given that the artisans and communities are the custodians of their indigenous craft, documentation training and efforts must be pushed at the ground level, conjunctly with private and government bodies.
Mapping out of craft – techniques, form, and motif, the processes of production, communities, traditional knowledge and functional gaps is imperative in preserving intangible and tangible heritage of the country.
Crafts mapping will highlight the need for appreciating and understanding the function, character and dynamics of unique indigenous economic and creative networks and their symbiotic relationships.
Discussion Highlights
THE POETICS OF KHADI: CUTTING ACROSS TIME AND SPACEOCTOBER 2016
Ritu Beri, Fashion Designer and Advisor, Khadi and Village Industries
Commission (KVIC), Geeta Goradia, Chairperson, Jewel Industries,
Meenakshi Lekhi, MP, Lok Sabha, Shelly Jyoti, Textile/visual artist, Varsha
Das, Renowned Gandhian thinker, art critic & litterateur in conversation with
Poonam Goel, Journalist
The panel discussion The Poetics of Khadi: Cutting across Time and Space
was devoted to the idea of ‘swadharma towards the country’ and philosophy
of ‘Gandhi’s khadi’ traversing human lives and humanity in 21st century.
The story of khadi still resonates more than 65 years after India gained
Independence from the perspective to create better and alternative societies.
In the 2015 fiscal year, the industry employed around 1.12 million Indians
capturing attention of the industry stakeholders. The panel raised pertinent
questions to highlight the contemporary relevance of this historical fabric.
Audience at Bikaner House
(L to R) Geeta Goradia, Meenakshi Lekhi, Ritu Beri, Shelly Jyoti, Varsha Das, Poonam Goel and Preeti Sinha
Photo Caption
MEENAKSHI LEKHIMember of Parliament
Khadi is being transformed into a fashion fabric through efforts of KVIC and Vichar
Vastra, a versatile collection of Khadi designed by Ritu Beri. Khadi is no longer
fabric of the politicians and rural India, but a fabric of the urban youth. One needs
to sell the idea of participating in the Khadi movement as the idea of nation
building to change the perception. We need to support the Khadi village industry.
It should be about my country, my values. We must believe in executing swadharma.
Khadi is an intellectual fabric with huge romance behind it to create a sense of
self dependence and revolution for a free nation. Khadi was a critical thought
of Bapu as he envisioned a great nation. It became a social equalizer. The key to
Khadi becoming a successful tool for the freedom struggle lies in its uniqueness.
It became a material which people from diverse backgrounds could relate to.
RITU BERIFashion Designer and Advisor, Khadi and Village Industries Commission (KVIC)
Meenakshi Lekhi (centre) addressing the audience
GEETA GORADIAGrand niece of Maganlal Gandhi, Nephew of Mahatma Gandhi and Chairperson of Jewel Industries
Khadi is a green fabric, a fabric that is carbon free, doesn’t use fossil fuel, and
doesn’t emanate toxic fuels. Today more and more people around the globe
understand repercussions of carbon footprint. While organic food is becoming
a rage, awareness of eco friendly fabric is to be generated. In the age of
globalization, the mantra is continuous innovation, and the textile scenario has
to adapt fast and fresh approach in order to appeal to the public. We must
also orchestrate efforts towards cooperative movement akin to Amul which have
been extremely successful catalyzing national pride. Khadi & Village Industries
Commission (KVIC) must also focus on bringing a cooperative revolution.
Geeta Goradia (left) sharing her views with the audience
VARSHA DASRenowned Gandhian thinker, art critic & litterateur
Khadi is the only enterprise that integrates three sectors together namely service,
agriculture and manufacturing, which are the backbone of the Indian economy.
SHELLY JYOTIVisual Artist and Fashion Designer
My tryst with Khadi is a call to action that challenges people who live in urban
cities to grant dignity to the rural brethren and to rethink our engagement with the
spinners, weavers and people who work with handicrafts in the villages.
Varsha Das
Celebrated as the fabric of nation during world’s largest democracy’s freedom struggle
more than six decades back, a new movement reverberating passion and gusto is
bringing back vibrancy in the way Khadi is produced and consumed today.
The 5000 year old process of hand weaving embodied the national integrity of all as
well as acted as a marker for communal harmony and spiritual humility.
PM Modi recently spelt the mantra of “khadi for nation and khadi for fashion” officially
reclaiming a new function for the national fabric.
Khadi comes under MSME enterprises, and there has been a thrust to develop it rapidly
for holistic economic development. KVIC, an apex organization under MSMEs has
recently launched Vichar Vastra, a versatile collection in Khadi made by ace designer
Ritu Beri, who is also an advisor to KVIC.
One of the prime reasons for the growth Khadi is its suitability to the present Indian
conditions. Khadi and Village Industries, as a matter of fact, require little or no capital
to set up, thereby making them an economically viable option for the rural poor. MSME
sector has emerged as a highly vibrant and dynamic sector of the Indian economy over
the last five decades. In the wake of industrialisation, and the mechanisation of almost
all processes, Khadi and Village industries are suited like no other to a labour surplus
country like India, owing to the labour intensive process involved.
While clearly the focus is on the segment’s potential as a job provider in rural India, the
stakeholders in the Khadi sector have to brave the challenge of delivering designs and
products that are wearable across wide age groups, genders considering that the fabric
is inherently high maintenance and expensive.
Khadi has an enduring romantic association with artisanal knowledge and handmaking
traditions that appeal to contemporary fashion designers. Many of them incorporate
the fabric into their collections.
While the struggle is to maintain a balance between tradition and modernity, it also
disseminates much needed lesson to the present generation to channelize technology,
resources to create opportunities and empower communities.
If Khadi revolution can be stirred by developing frontend to backend linkages, it
would mean creation of an inclusive society, raising standards of living and achieving
equitable livelihood for communities in different geographies.
Discussion Highlights
LIVING THROUGH THE CRAFTS: THE TRAVEL LENSOCTOBER 2016
Shilpa Sharma, Breakaway Craft Tours, Debashish Nayak, Centre For
Heritage Management, Shama Pawar, The Kishkinda Trust In Conversation
with Ritu Sethi, Craft Revival Trust
The symposium ‘Living through the Crafts: The Travel Lens’ focused on the
new paradigm of bespoke and engaged travel, through the lens of cultural
heritage, craft, community engagement and arts. The key speakers debated
on how livelihoods have been impacted through sustainable development in
the tourism sector. As a 3rd dialogue within the YES Global Institute’s ‘Craft
in India’ series, the dialogue promoted cross-sector interactions aligning
capacity-building plans, specific training needs, marketing strategies and
infrastructure challenges.
(L to R) Shilpa Sharma, Debashish Nayak, Shama Pawar, and Ritu Sethi
An engaged audience
Sayantani Raychaudhuri, Banglanatak sharing her views
YES Global Institute Glocal Convenor Preeti Sinha
RITU SETHIChairperson, Crafts Revival Trust
While we speak of the travel lens in the context of craft, we speak not only of
tourists from other countries but of our own fellow travelers. While the onground
statistics are hard to come by, it is not difficult to ascertain the trend by the
number of flights, trains, cars on the move. It leads us to extrapolate that never
before have so many people travelled so widely across the country. A growing
number of travelers seek to engage with experiential crafts and traditions India
has to offer. Like everything else in India, it is a new idea and it is an old idea!
Photo CaptionSHILPA SHARMAFounder, Breakaway and Jaypore.com
How many times would have gone to a small mofussil town, Kotapur in Orissa and
seen a weaver weave a whole story which narrates their tribal lineage. Or how many
times one would have travelled to the small town of Santiniketan in West Bengal to
see women recycle old sarees into kitsch textiles. It is not something which is on a
regular tourist map and that is the offering of Breakaway, a Craft Tours brand.
Shama Pawar giving an insight into heritage tourism
DEBASHISH NAYAKDirector of Centre for Heritage Management, Ahmedabad
According to present banking policy, if a building is more than 15 years old, one
cannot apply for a loan. In India, heritage buildings are generally more than 100
years old. It demands a change in the policy at the Central level. Cities now need
to find innovative solutions that can help address these critical issues. These issues
are even more critical in the heritage and historic cities of India because many
are losing their traditional neighborhood and housing structures due to lack of
understanding and opportunities for revitalization.
SHAMA PAWARFounder, The Kishkinda Trust
Tourism requires infrastructure which was not in place 22 years
back. Informal accommodation was provided in my house to
dancers, conservation architects who engaged with the community.
Dance and Theatre company, Chandrakalabhumi was formed later
and has been very active all these years. Though Hampi is such
an outstanding place and Anegundi is in the middle of the world
heritage site, no one thought it would ever garner attention!
Craft led tourism bridges the gap between what one has and what one can experience
assimilated through the quantum of work that goes behind the beautiful handicraft
and handlooms. Travel in this case is about interaction with the locals and bridging
language barriers. Capacity building in the different geographies of India has stimulated
reverse migration and empowered communities to take forward their legacies.
Creative industries have the potential to absorb the communities in an economically
productive manner, bringing quality of life to the village. One should not make the
mistake of calling crafts ‘an unorganized sector’. The creative managers who can
manage the economics of the sector can be trained within the community itself. With
realization of the economic prospect, the stress about losing the craft will be amicably
handled.
The goal for a successful heritage tourism model is engagement with the local
community. Ultimately tourism should enhance people’s quality of life. It should lead to
self-respect and pride through various programs of interpretation of the local history
and it should sustain art forms expressed cultural practice.
The power of collaboration is immense and there are efforts being made to make the
sector more structured and at the same time raising empathy towards the players and
pegging right value that they deserve. The challenge of fair wage system, migration
still prevails besides continuity of the tradition itself as the generations prefer
abandoning the gift. However, it is encouraging to see fashion merge lines with crafts
in the contemporary times in fashion collections. Bridging the gap between artisan and
end consumer is the final objective.
Tourism for heritage and craft has many benefits for the communities including the
provision of new employment opportunities, improved incomes, curbing of rural
migration and nurturing a sense of pride amongst communities that incentivizes
preservation and continuity of heritage. But there is also a fear of what the limits of
acceptable change of traditional lifestyles versus tourism are. Our engagements should
be in orchestrated in such a manner that we do not end up slaying the golden goose.
Discussion Highlights
Media
An upcoming symposium on embroidery is being organized by YES Institute‘Reinventing Traditional Embroidery’
10/24/2016
Ritu Beri revisits khadi with her new collection called Vichar Vastra The Hindu
http://www.thehindu.com/features/metroplus/rituberirevisitskhadiwithhernewcollectioncalledvicharvastra/article9256555.ece?css=print
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FEATURES » METROPLUS
Published: October 24, 2016 14:38 IST | Updated: October 24, 2016 14:38 IST October 24, 2016
An idea whose time has come
Madhur Tankha
A FRESH LOOK Ritu Beri
Ritu Beri revisits khadi with her new collection called Vichar Vastra
Twenty five years ago, Ritu Beri chose khadi as a fabric to launch her brand. It was a fabric she was comfortable with as she had seen it right
from her forefathers to cousins wearing them. She could easily express her creativity. But there was one more reason for using the fabric,
espoused by Mahatma Gandhi, by the then fledgling designer.
“At that point of time the fact that khadi was a green fabric, environmentfriendly, is natural and has a unique appeal as every yarn is different
were not the factors playing on my mind. I simply could not afford an expensive fabric. So I used khadi because it w
as affordable. The first
two collections were in khadi. Now when I lo
ok back I realise that I have always been in love with this fabric. Khadi makes the person stand
out. If a bride wears a khadi she immediately gets noticed but now we see the same monotonous look during weddings,” says Ritu, while
recounting her experience of using the versatile fabric at The Poetics of Khadi: Cutting across Time and Space, a panel discussion, at Bikaner
House.
Noting that khadi evokes patriotic fervour, Ritu feels there is a romantic side to it as well. “The fabric played an important role during the
Independence Movement. My great grandfather was a big believer in the significance of khadi in nation building. I r
emember an unbreakable
rule existed in our house that everybody should wear khadi.”
With Diwali festivity round the corner, Ritu has now created a collection of W
estern and Indian ensembles. She has named it Vichar Vastra.
“Basically I have created a collection around khadi. I thought that Diwali w
ould be an ideal time for people to go khadi and promote it a
mong
their friends and families. We are trying to promote it among the youth of In
dia. For me, it is the most luxurious, special, hand spun,
handwoven fabric and it has zero carbon imprint. Also, as a designer, it i
s a fantastic fabric to work with,” says Ritu.
Explaining the reason for returning to khadi in a big way, Ritu, now advisor to the Khadi and Village Industries Commission, says when she
was goaded by Meenakshi Lekhi, BJP leader, she decided to give it an impetus and make it relevant for every age group.
“When I saw the amazing collection of maroons, orange, pink, red, indigo, white, my perennial favourite, there was no stopping me. Khadi is
such a versatile proposition. It is creative social equaliser and is as much apt for politic
ians as for students and artists. When I take up
something, I go completely into it b
ut I wondered how I could make the idea appealing for college goers. Then I lis
tened to the Prime
Minister’s speech when he quoted Mahatma Gandhi saying that khadi was not a vastra (dress) but a vichar (thinking). So I played with words
and coined my collection Vichar Vastra.”
Ritu has experimented with different wearable forms of khadi ranging from beachwear to pants. The designer will be unveiling the new
collection of ghagras, shirts, kurtas and jackets at her Sainik Farm store this Monday.
10/26/2016
Evolution of Bapu’s Khadi | Millennium Post
http://www.millenniumpost.in/NewsContent.aspx?NID=330174
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Evolution of Bapu’s Khadi
25 October 2016, New Delhi, Team MP
Fashion has always been an ever changing phenomenon
as designers have tried to enhance beautiful outfits form
various materials. And this time Khadi has come to the
centre stage of fashion. YES Institute organised a seminal
panel discussion under its ‘Craft in India’ series, ‘The
Poetics of Khadi: Cutting across Time and Space’ recently
at Bikaner House, New Delhi. The discussion was devoted
to the idea of “Swadharma towards the country” and
philosophy of ‘Gandhi’s khadi’ traversing human lives and
humanity in the 21st century. The story of Khadi still resonates from the perspective to
create better and alternative societies. Lok Sabha MP,
Meenakshi Lekhi, fashion designer Ritu Beri, granddaughter of Mahatama Gandhi, Geeta Goradia, Textile/Visual artist
Shelly Jyoti and renowned Gandhian thinker Varsha Das attended the event as panelists.
Geeta Goradia, grand niece of Maganlal Gandhi, nephew of Mahatma Gandhi shared her experience of living with
Khadi as the mainstay fabric of the Gandhi family, resonating with the low carbon footprint values. She stressed that
continuous innovation is need of the time and suggested that KVIC should replicate Amul cooperative movement in
the Khadi sector.Meenakshi Lekhi, spoke about Khadi being transformed into a fashion fabric through efforts of KVIC and Ritu Beri’s
‘Vichar Vastra’. She discussed about the need to bring a change in the value system of the society so that Khadi is no
longer fabric of the politicians and rural India, but a fabric of the urban youth. Inspired from Gandhi’s thought she
said, “Khadi vastra nahi vichar hai”. She also said, “One needs to sell the idea of participating in the Khadi movement
as the idea of nation building to change the perception. We need to support the Khadi village industry. It should be
about my country, my values. We must believe in executing Swadharma”.
Ritu Beri illustrated the journey of her creations in Khadi, ‘Vichar Vastra’ available at affordable prices at Khadi Gram
Udyog, Connaught Place. “Khadi is an intellectual fabric, the thought of Bapu as he envisioned a great nation. Khadi
is a social equalizer. When the crushed look of linen can be promoted so can the crushed look of Khadi. I believe that
India is the connoisseur of luxury but sadly has no mention in the global market. I have set up Luxury League to
promote the idea of Indian connoisseurship and India’s heritage.”
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10/26/2016The First Mail | Khadi: From Symbol Of India's Freedom To Fashion Statement
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26 Oct, 2016 10:55:37 IST
You are here : Home » Entertainment
Posted On : 25 Oct, 2016 Source : PTI Place : New Delhi
Khadi: From symbol of India's freedom to fashion statementTo help promote local artisans and weavers across the country, an exhibition here
seeks to encourage larger use of Khadi a fabric that has transformed from being a
symbol of India's freedom struggle to become a style statement.Titled 'The Khadi March: Just Five Meters', the solo show by Shelly Jyoti at IndiaHabitat Centre here underlines the importance of 'khadi' portraying the fabric as a
mark of selfpurification, selfreliance and independence."The show is a call to action that challenges people who live in urban cities to grant
dignity to the rural brethren and to rethink our engagement with the spinners,weavers and people who work with handicrafts in the villages."It is designed to be a study for those who want to understand what the khadi
movement stands for, and what it has been able to do," says Jyoti.
According to the artist, following Mahatma Gandhi's proposition of buying 'five yards of khadi' each, India's urban population can transform the
lives of rural artisans and enrich their livelihoods."Five meters of cloth is an individual's necessity to cover themselves. So, I wanted to explore the 300 million urban population for whom buying
just 5 meters of khadi is not a big thing but their efforts can change the life of millions in the rural areas," she says.One of the installations titled, 'The Yarn Wheel' has been made up of 1000 handspun cotton yarns to capture the meditative process of spinning
the wheel in stark contrast to machine made thread.Jyoti has worked extensively with Ajrakh artisans from Kutch and with kantha embroiderers from West Bengal for the show that features several
khadi installations, 20 Ajrakh textile artworks, a multimedia spoken poetry art and a documentary on Ajrakh textile process.
"While working with those who have inherited these textile traditions and are passing them on to the next generations, I have been able to see
through the critical relationship between an artisan as a creator and an artist as a visualizer," she says. Using khadi as the ground for processes of traditional dyeing and embroidery, Jyoti's images employ symbolic forms with decorated surfaces to
highlight aspects of India's long and complex history."Khadi is such an ecofriendly, comfortable and vibrant fabric. It can become a fabric from our freedom struggle to a fashion statement in the
present world," she says.
Utilising printing blocks that are two to three hundred years old, Jyoti says her individual pieces draw attention to a shared history whose
preservation is currently threatened by the forces of globalization.Traditional Bengali artform of Kantha Stitch also finds place is some of her creations. She explores the creative space of women in Bengal who
have migrated to Northern India in the past decade."I engage these women to give them small jobs and explore their inherent talent. Running stitches also have a decorative and aesthetic appeal,"
she says.
The artist was also part of a recent event organised by Yes Institute at Bikaner House here.Titled 'Poetics of Khadi: Cutting across Time and space', the discussion focused on the "idea of khadi as a visual expression of national identity."
"I am trying to explore the role of clothing in a movement of social change, while exploring khadi as a commodity in 21st century to give spinners
and weavers a more organized source of livelihood."The idea of consumption of handwoven handspun cloth by urban people is to establish connect between urban and rural brethren," she says.
Another site specific installation, 'Just Five Yards' made up of 9 khadi hand bags, is inspired from Gandhi's khadi bulletin published in 1931, that
propagated the ideal of swadharma."The idea was that rather than giving one's money to the British industry, one should contribute to the livelihood of local villagers and thus
become 'a moral consumer' building a national community," she says.The exhibition is on view till October 26.
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Khadi: From symbol of India’s freedom to fashion statement | fashion and trends | Hindustan Times
http://www.hindustantimes.com/fashionandtrends/khadifromsymbolofindiasfreedomtofashionstatement/storyLYlpCfjBfm1betKPDztLNI.html1/2
Khadi: From symbol of India’s freedom to fashion statement
PTI, New Delhi | Updated: Oct 25, 2016 20:18 IST
Titled The Khadi March: Just Five Meters, the solo show by Shelly Jyoti at India Habitat Centre in Delhi underlines the importance of khadi portraying the fabric as a
mark of selfpurification, selfreliance and independence. (Shutterstock)
To help promote local artisans and weavers across the country, an exhibition here seeks to encourage larger use of Khadi a fabric that has
transformed from being a symbol of India’s freedom struggle to become a style statement.
Titled The Khadi March: Just Five Meters, the solo show by Shelly Jyoti at India Habitat Centre in Delhi underlines the importance of khadi
portraying the fabric as a mark of selfpurification, selfreliance and independence.
“The show is a call to action that challenges people who live in urban cities to grant dignity to the rural brethren and to rethink our engagement
with the spinners, weavers and people who work with handicrafts in the villages.
“It is designed to be a study for those who want to understand what the khadi movement stands for, and what it has been able to do,” says Jyoti.
According to the artist, following Mahatma Gandhi’s proposition of buying ‘five yards of khadi’ each, India’s urban population can transform the
lives of rural artisans and enrich their livelihoods.
“Five meters of cloth is an individual’s necessity to cover themselves. So, I wanted to explore the 300 million urban population for whom buying
just 5 meters of khadi is not a big thing but their efforts can change the life of millions in the rural areas,” she says.
One of the installations titled, ‘The Yarn Wheel’ has been made up of 1000 handspun cotton yarns to capture the meditative process of spinning
the wheel in stark contrast to machine made thread.
Jyoti has worked extensively with Ajrakh artisans from Kutch and with kantha embroiderers from West Bengal for the show that features several
khadi installations, 20 Ajrakh textile artworks, a multimedia spoken poetry art and a documentary on Ajrakh textile process.
“While working with those who have inherited these textile traditions and are passing them on to the next generations, I have been able to see
through the critical relationship between an artisan as a creator and an artist as a visualizer,” she says.
Using khadi as the ground for processes of traditional dyeing and embroidery, Jyoti’s images employ symbolic forms with decorated surfaces to
highlight aspects of India’s long and complex history. “Khadi is such an ecofriendly, comfortable and vibrant fabric. It can become a fabric from
our freedom struggle to a fashion statement in the present world,” she says.
Utilising printing blocks that are two to three hundred years old, Jyoti says her individual pieces draw attention to a shared history whose
preservation is currently threatened by the forces of globalization.
Traditional Bengali artform of Kantha Stitch also finds place is some of her creations. She explores the creative space of women in Bengal who
have migrated to Northern India in the past decade.
“I engage these women to give them small jobs and explore their inherent talent. Running stitches also have a decorative and aesthetic appeal,”
she says.
The artist was also part of a recent event organised by Yes Institute at Bikaner House here. Titled ‘Poetics of Khadi: Cutting across Time and
space’, the discussion focused on the “idea of khadi as a visual expression of national identity.”
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