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Rickshaw, a Motion Craft A Study on Material Culture in Dhaka | Rickshaw, A Motion Craft Prepared By | Nazmul Islam Supervised By | Dr. Robert Mellin Master of Architecture Major - Urban Design and Housing School of Architecture McGill University Montreal, Quebec A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Master of Architecture August 2015 Copyright © Nazmul Islam | [email protected] | [email protected] I wish to express my admiration for all the rickshaw making artisans of Dhaka Contents Acknowledgement 01 Abstract 02 Résumé 03 Preface 05 Chapter I 09 . Literature Review . Material Culture 10 . Folklore 23 . Methodology . Qualitative Research – Observational Study and Documentation 25 Chapter II 31 . Rickshaws of Dhaka 32 . Background 33 . Rickshaw, a Motion Craft 35 . Rickshaw Pullers, Artisans and Others, 38 Related to the Rickshaw Industry Chapter III 59 . Rickshaw-making Workshops and Artisans 60 . Rickshaw Equipment-producing Factories 89 . Rickshaw Equipment Wholesale Stores 94 . Rickshaw Artists’ Studio Spaces 98 . Rickshaw Repair Workshops 116 Chapter IV 121 . Rickshaw Art 122 . Subject Typology of Rickshaw Art 132 . Legends of Rickshaw Art 148 Conclusive Remarks 153 Bibliography 156 Acknowledgement It’s my great pleasure to express sincere gratitude to my mentor and research supervisor Professor Dr. Robert Mellin, for his patience and cordial guidance throughout my tenure at McGill School of Architecture. No doubt, his continuous coordination and valuable suggestions have provided me the opportunity to work on my current research, a study on material culture in Dhaka, more precisely ‘Rickshaw, A Motion Craft’. I would like to extend my special thanks to Dr. Annmarie Adams, Dr. Nik Luka, Dr. Avi Friedman, Professor Vikram Bhatt, and of course to Ms. Marcia King, who helped me with their endless support to overcome difficulties and lead a successful studentship in this highly reputed school. I would also like to share the names, with cheers, of my friends and colleagues, who have contributed a lot in making the field study really effective; notably, I would like to mention architect Mohammad Muazzem Hossen Akash, architect M.M. Rabbi Anik, and Fahim Alam who is a B.Arch. student and an excellent photographer. I am also very grateful to my friend engineer Samia Enayet for her support in French language matters. It’s my privilege to thank my new friends, found while doing the field study in Dhaka, rickshaw maker Mohammad Shiraz, artist Tapan Das and Rafiqul Islam and other artisans, who kindly allowed me to document their activities, their studio and workshop spaces. I am certainly quite pleased with their patience and their information regarding the subject matter to explore the appropriation of this artifact and its artisans. I am deeply indebted to my parents, siblings and in-laws, who always inspire me to continue my career in architectural practice and research. And, last but not least, I am profoundly grateful to my best friend and loving wife Samina Mazumder Tuli, who is an architect and researcher, for her eager interest, advice and cooperation in my research work. 1 Abstract The rickshaw is the most common and popular means of transport in Dhaka. It is a human-powered, passenger-carrying tricycle. Dhaka’s rickshaws have already garnered worldwide appreciation, not only for their environmentally responsive design features but also for their displays of artistic expression and splendid decorations. The rickshaw is not an object; rather, it is a pure form of art that is celebrated in shapes and forms, colors and patterns, designs and crafts. Rickshaw decoration represents a local folk art that is clearly true in expression and rich in experience. The colorful eccentricity of these highly crafted rickshaws is an entirely unique feature of Dhaka’s cultural landscape (Dutt & Williams, 2010). Over the years, a number of skilled mechanics and rickshaw artists have been in their informal workspaces to produce this handmade vehicle as a heartfelt expression of local craft. However, a battery-powered, passenger-carrying tricycle is beginning to replace traditional rickshaws in some areas of Dhaka because they are quite efficient and convenient to operate. In addition, most traditional rickshaw art is beginning to be replaced by printed images. Nevertheless, considering the significance of rickshaws in Dhaka and the probable disappearance of the industry in the near future, this research work has been undertaken to document the traditional rickshaw-making process and its very local technology. More precisely, this documentation illustrates rickshaw workshops and rickshaw artists’ studio spaces as well as the artifacts and the contributions of artisans. Reference Dutt, K. L., & Williams, D. J. (2010). Moving Pictures: Rickshaw Art of Bangladesh. Ocean, NJ: Grantha Corporation. 2 Résumé Rickshaw est le moyen le plus commun et populaire de transport à Dhaka. Il est un passager à propulsion humaine portant tricycle. Le pousse-pousse de Dhaka a déjà assuré une appréciation dans le monde entier, et il est non seulement pour ses caractéristiques de conception écologiques et sensibles de l'environnement mais aussi pour son expression artistique et décors magnifiques. Il n’est pas un objet, mais plutôt une forme pure de l'art qui est célébré dans les formes, couleurs et motifs, dessins et artisanats. La décoration d’un Rickshaw représente les arts folkloriques locaux, ce qui est clairement vrai dans l'expression et riche en expérience. L'excentricité colorée des Rickshaws très artisanales est entièrement une caractéristique unique du paysage culturel de Dhaka (Dutt & Williams, 2010). Au fil des ans, un certain nombre de mécaniciens de compétences et des artistes de Rickshaw ont travaillé de tout cœur dans leurs espaces de travail informels pour produire ce véhicule à la main comme un symbole de l'artisanat local. Toutefois, un passager-portant tricycle alimenté par batterie est occupé certains endroits de Dhaka en remplaçant les Rickshaws, en raison de sa grande efficacité et une utilisation commode. De plus, l'art de rickshaw le plus populaire a déjà commencé à être remplacé par des images imprimées. Cependant, compte tenu de l'importance de Rickshaw à Dhaka et de la disparition probable de l'industrie dans un avenir proche, ce travail de recherche a été lancé pour documenter le processus de fabrication traditionnelle de Rickshaw, et pour démontrer sa technologie vraiment localisée. Plus précisément, les ateliers de Rickshaw et les espaces de studio de l'artiste de Rickshaw, ainsi que les artefacts et les contributions des artisans ont été illustrés dans le présent document. Référence Dutt, K. L., & Williams, D. J. (2010). Moving Pictures: Rickshaw Art of Bangladesh. Ocean, NJ: Grantha Corporation. 3 A decorated rickshaw body 4 Preface The rickshaw is the most available and popular means of public conveyance in Dhaka. Rickshaws are human-powered and pedal-driven three-wheeled cycles used for carrying passengers. This vehicle has achieved great recognition in the world, not only for its nature-friendly, sustainable features but also for its unique artistic expression. “Swarms of bright rickshaws add interest to the city’s slow motion, and they have frequently excited the curiosity of foreign visitors, for collectively they comprise a quantitatively astounding public exhibition of art” (Glassie, 1997). Over the years, a number of skilled mechanics and rickshaw artists have been working in their informal workspaces in a heartfelt manner to produce this handmade vehicle, a symbol of local craft. This extraordinary artwork represents one of the most distinctive folk cultures of the region. This research was undertaken in order to document the traditional rickshaw- making process – the very local technology, its workshop settings, the expertise involved as well as the rickshaw artists and their artwork. The rickshaw is a necessary part of Dhaka, the capital city of Bangladesh. According to the Institute for Transportation and Development Policy (ITDP) of Dhaka and the Strategic Transport Plan (STP) 2005, there are approximately six hundred thousand rickshaws on the streets of Dhaka, and over a million people are directly involved for their livelihoods in this gigantic industry (RAJUK, 2005). Currently however, a battery- powered, passenger-carrying tricycle has occupied some areas of Dhaka and has replaced rickshaws because of its operational convenience, more passenger carrying capacity, better speed, and higher efficiency. In the future, this new technology could become a threat by replacing the existing traditional rickshaws. In addition, machine- printed design elements recently have been replacing the traditional artwork found on rickshaw panels because of their cheaper cost and availability. However, considering the significance of rickshaws regarding the environmental, socio-cultural, and economic aspects of Dhaka city as well as their appreciated craft value, and the probable disappearance of the industry in the near future, this research work was initiated to create an archive of the conventional rickshaw-making process. 5 A rickshaw puller, carrying a passenger 6 A literature review was initially done to provide the theoretical framework to study material culture and folklore, which has helped to shape the methodical approach of this research. The objective of this study is to document the traditional methods of making rickshaws. Furthermore, it illustrates rickshaw workshops
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