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Virsa: the Onc Temporary Value Chain Samreen Zahra Mrs Zahras@Mymail.Vcu.Edu View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by VCU Scholars Compass Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2015 Virsa: The onC temporary Value Chain Samreen Zahra Mrs [email protected] Follow this and additional works at: http://scholarscompass.vcu.edu/etd Part of the Art and Materials Conservation Commons, Industrial and Product Design Commons, Interactive Arts Commons, and the Interdisciplinary Arts and Media Commons © The Author Downloaded from http://scholarscompass.vcu.edu/etd/3833 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. VIRSA THE CONTEMPORARY VALUE CHAIN Samreen Zahra VIRSA|Introduction | VIRSA| Acnowledgement ACKNOWLEDGEMENTS My Thesis journey would not have been possible and knowledge. Without their constant guidance, without the love and support of my family and friends. I would not have managed to complete my thesis I want to thank a number of people who’ve made it without; Michael Wirtz, my reader who helped me in possible for me. finalizing the written document. My Mother who has always been my inspiration; I want to thank all of my MFA professors; Paolo she has taught me to dream big and to work on realizing Cardini, Diane Derr, Marco Bruno, Bibi Baloyra, those dreams. Thomas Modeen and Pornprapha Phatanateacha My Father who’s been the driving force in my for introducing me to different design experiences successes; he has helped me grow beyond my comfort including physical computing and the FabLab. zones. Last, but not least, I want to thank my MFA My Husband for his constant support and colleagues who, in their own ways, have contributed to encouragement, for his faith in me and for enduring the my learning and have been great support. two years with patience regardless of the long distance. For driving me around cities finding bazaars and local crafts people. My Siblings for being my support system and To Dada Jaan and Nana Jaan, my grandfathers, who’ve been my inspiration bearing me through times of stress, especially M. for taking their passion and growing upon it Jawad for being my university companion. My Father and Mother in Law for their kindness and constant motivation. I want to extend my special thanks to my group of artisans in Pakistan who worked day and night to deliver my work on time. I would also like to acknowledge the Resource Development Institute, Rawat for being open to interviews and letting me use their facilities for the execution of the projects. My sincere gratitude and thanks to my committee members Richard Lombard, Law Alsobrook and Narita Mattock for enriching my thesis with their expertise 2 3 VIRSA| VIRSA| Table of Contents TABLE OF CONTENTS Abstract.................................................................................07 Introduction........................................................................08 Problem statement...................................................10 Justification................................................................12 Delimitation...............................................................13 Personal Relevance..................................................14 Field Relevance.........................................................15 Bacground...........................................................................16 Pakistan Cottage Industry....................................17 Precedents..................................................................20 Craeft Review:Jandi................................................24 Charpai........................................................................27 Investigation.......................................................................39 Research in Pakistan..............................................40 National Heritage Museum.................................41 Local Bazars..............................................................43 Resourse Development Institue.........................45 Artisan Interviews..................................................47 Methadology......................................................................48 The Modular System...............................................49 Prototype 1 ...............................................................51 Prototype 2................................................................53 Prototype 3................................................................55 The Modular Charpai............................................57 Conclusion..........................................................................62 Future Direction...............................................................64 References...........................................................................66 Image Reference...............................................................68 4 5 VIRSA| VIRSA| Abstract ABSTRACT “Handicraft” means a useful or decorative object made by a craftsman who has direct control over all stages of production. Handicrafts have always had a greater value, an identity of their own that is reflective of their place, culture and materials, as well as a sense of belonging to a particular place and time. With the ever- growing mass production that followed the Industrial Revolution, we lost those crafts to multiple reasons: one being cheaper, industrial-made products reducing the demand for handicrafts, and another being a shift in consumer tastes. Most craftspeople hardly earn enough to survive and fulfill their basic needs, and naturally seek greater economic stability. In hopes of making a better future for their children, they send them to schools to gain knowledge that could help them gain employment and be able to make better livings for themselves and their families, halting the passing of knowledge. Hence, the heritage of skills that had been passed for generations in a family comes to end. This risks the loss of a craft that once was a source of pride and joy for these artisans – and for the larger community. There are a number of efforts going on around the globe to preserve the indigenous crafts of different cultures, and to allow that knowledge to be passed down to new generations. My focus in this paper is a specific object (the charpai) from the Jandi craft, and its preservation through innovation. My work seeks to advance and preserve the skills and traditions of the artisans, while designing a new set of products inspired by the craft that hope to reconnect more artisans to the craft and empower them in terms of knowledge and finance. 6 7 VIRSA| Introduction VIRSA| Introduction INTRODUCTION Handicraft is a form of expression for the craft, skills, and the realization of an object through be touched and interacted with, without a vehicle human race. Since the beginning of time, by making craft labor is not a trivial issue for crafts people. or the culture. These cultural vehicles are called things with our hands, we have formed identities Making is the means through which the crafts person “Human Treasures” by the UN. It is defined as and values that in turn have shaped cultures and explores their obsession or an idea.”3 In the past, follows: societies. Making is connecting; it’s a link between handicrafts were also called “minor arts”, perhaps Intangible cultural heritage means the practices, the past and present, making way for the future. With for this very reason. David Gauntlett mentions in his representations, expressions, knowledge, skills-as time we have perfected our skills through various book Making is Connecting that: “The separation of well as the instruments, objects, artifacts and cultural processes. Handicraft reflects our desire to attain craft from art and design is one of the phenomena spaces associated there with – that communities, excellence, its expression; and it embodies our pride. of late-twentieth-century western cultures. The groups and, in some cases, individuals recognize as Richard Sennett mentions in his book, The Craftsman: consequences of this spilt have been quite startling. part of their cultural heritage. This intangible cultural “The emotional rewards craftsmanship holds out It has led to the separation of ‘having ideas’ from heritage, transmitted from generation to generation, for attaining skill are twofold: people are anchored ‘making objects’. The end product of any handicraft is constantly recreated by communities and groups in 4 in tangible reality, and they can take pride in their ought to reflect a combination of beauty and utility.” response to their environment, their interaction with 1 work.” Every fingerprint weaves a memory and, with The diversity of handicraft techniques and natural and their history, and provides them with it, every object produced is timeless. Every object has their products bring to our attention the variety a sense of identity and continuity, thus promoting its history. of materials, trading practices and production respect for cultural diversity and human creativity.”5 These handicrafts are reflective of different organizations that have existed in various These human treasures are of great value to cultures: cultures that are built upon different civilizations. countries and nations, and are held with pride within human activities and are expressed through various
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