When 'craft is an art'. Raji Narayan contributes to its development.

It is uncanny sometimes how events develop. As I read comments from Rama and Varsha giving their meaning to the term 'craft' in my earlier blog 'Varsha Nair: Her art...', I came across 'Handmade Nation' recommended as a blog of note. It was an enticing title that lead me to the blog, which is about the rise of DIY (Do It Yourself) and the new wave of art, craft and design in the USA. (http://indiecraftdocumentary.blogspot.com/.)
Anyway, Rama's comments about craft set me thinking. 'But craft requires mastery of technique along with creativity, making it a tougher field'.
(Rama Gopinath lives near Seattle and Gopi takes me golfing at his club on our visits to our daughter Nandini .)

To reminisce, it took me back to the time, years ago in Khajuraho, when I saw both Tara and Raji suddenly run excitedly towards..... well a hand cart full of brass figurines. These were all very well crafted and very beautiful and are still displayed in our living room.

They paid whatever the vendor quoted as a price. Anyway there was no way he would have reduced prices after he saw them grabbing at the idols with such a happy smile. Later I saw a foriegn tourist bargaining hard and reducing the prices by 40 percent. I did not grudge the extra money, though we then lived on what is called a balanced budget.

It is preferred that people, when travelling, buy local handicrafts and thus encourage the artisans and craftsmen of the place visited. It does not matter that these may get boxed once the novelty of the item is gone. It is a way of helping the needy of that area. We are all aware that this business of 'Art and craft' is very big. Indeed in India, each state has a 'Government Emporium' of handicrafts located in Delhi. The range is amazing in its variety. While we hope that the money we spend does get to the real people involved in the creation of Handicrafts, I know for certain that this does happen in the organisation I am writing about.

I am happy to have written in my earlier blogs about people I know, Viji is an art lover turned curator and Varsha, an artist who loves to take us through the process. Both give back to the society in their own distinct ways. So it is with pleasure and great pride I talk about Raji, and specially about her association as a designer with 'Dwaraka' in Bangalore. Anyway it was in Pune we met Raji, in fact she was still a bride when Lakshmi Narayan and Raji moved to the apartment opposite to ours and we have truly adopted each other's families. It was clear even then that Raji had an eye for beauty. She designed and made very pretty 'girls' clothes and held exhibitions and was generally 'sold out'.

Well, Dwaraka is an acronym for 'Development of Weavers and Rural Artisans in Kalamkari Art'. It is a neat one. It is a non-profit charitable trust and Raji volunteers her time. I was in Bangalore when the Dwaraka showroom was inaugurated in the year 2001 and was fortunate to hear the founder trustee Mr. Dwaraknath Reddy speak. His humanity was apparent as he spoke. He is well known, is the Chairman of the Nutrine Group of Companies. His daughter Anita Reddy, a trustee, is a very dedicated social worker. The inspiring story of DWARAKA is well documented in http://www.dwarakaonline.com/ and going through it will enable you to learn more about Kalamkari art as well.

I left for Bangkok soon after that. I thought Raji had given an excellent welcome speech and had handled the organisation of the show very well. In fact, the first time I heard her giving a speech in public! While I was not cynical, I knew that Raji was not a typical socialite, the set up appeared very conventional and could have been just a past-time. Here was an organisation, founded by an industrialist, run by his daughter (who was also the daughter-in -law of Late Mr. K.C. Reddy, The first chief minister of Mysore state) and Raji (wife of Jt. M.D of MICO BOSCH). She could well have chosen to use her time to be part of the elite groups in Bangalore. Anyway, I thought it was a fine way to spend a little time doing good and would be beneficial for her as well.

The story turned out be very different. Whenever I visited Bangalore, I realised it was not that easy to meet Raji. She would be either in Dwaraka or visiting Kalahasti in Andhra Pradesh interacting with the artisans. We all know the mythical story of Gopis dropping everything they were doing when they heard the flute of Krishna in the ancient 'Dwaraka'. I used to kid Raji that the pull of 'this' Dwaraka seemed as strong if not stronger for her.

She would invariably say, not as an apology for being too busy, but as an explanation that all these people depended on her. It is something she had to do and being what she is, had to do it well, very well and extremely well. Her commitment is truly phenomenal.

We are all very happy and proud of the growth and success she has achieved in developing products for Dwaraka. It is sold well in India and is exported as well. In a recent exhibition in London she and Dwaraka were requested to participate and did attract a lot of attention.

(Raji at the Regent street festival, Indian Summer in London. )

It is providential that Raji and Anita Reddy met when Raji's daughter Meghana took to serious swimming. (Meghana represented India at the Asian Games in Bangkok). This meeting resulted eventually in Anita Reddy inviting Raji to take charge of Dwaraka. Since then the organisation has grown and today has a turnover of about 8 Million Rupees and is able to support about 350 families in and around Kalahasti.

Most importantly the artisan families are no more required to wander in the big cities hawking their produce like they used to do earlier. This is what they said when they met the Reddy family some years ago, “We come to big cities and go door to door trying to sell our art, but more often than not, we are mistaken for beggars and driven away.” What has transpired since then is the story of Dwaraka!

The trustees of Dwaraka have very nicely said: 'For Raji, as she herself often says, her visits to Srikalahasthi stimulate her into greater service, and to the artists who eagerly wait for her with deep respect and affection it is a joy to work with their “Raji Amma”

Raji, is one of those rare people who chose to commit her time and energy voluntarily towards the upliftment of the poor, while she could have chosen to have sat back and enjoyed the leisurely comforts within four walls. She humbles one by her sincerity and dedication and the Ramanarpanam Trust acknowledges her selfless service'.

And also quote from one the articles I found on the web here: http://www.boloji.com/wfs5/wfs983.htm
Three Cheers for Artisans by Fehmida Zakeer

The girls in the kalamkari unit in Andhra Pradesh were encouraged to form groups and open bank accounts. A Community Development Fund was also instituted for the 150 women artisans. Designer Raji Narayan joined hands with Reddy to initiate design awareness among the girls. "This helped them approach their work with an artistic temperament and increased the value of their products." Now, they make saris, dress materials, cushion covers, handbags, and even greeting cards that are sold at an exclusive Dwarka boutique in Bangalore. Almost all girls have managed to bring their families out of the vicious debt cycle. Reddy gives the example of young Kanchana. "She has managed to pay off her father's debts, educate her brother and marry off her sister." She adds, "The confidence level among the girls has increased. They now share thoughts and problems, often extending a helping hand to each other." )

Webistes featuring Dwaraka and its products:

https://shop.thehungersite.com/store/item.do?itemId=29037&siteId=220

http://www.lotusbyloa.com/index.php?main_page=page&id=8&chapter=0

http://www.hindu.com/thehindu/mp/2006/08/21/stories/2006082101750300.htm

I thought I would include this treasure I found in the world wide web or should we say w.w.wonder. You can see an enlarged picture by clicking on it.

Kalamkari wall hanging, ca. 1640–50; MughalIndia, Madras region, perhaps PulicatCotton, resist dyed and painted; L. 99 1/2 in. (252.73 cm), W. 77 in. (195.58 cm)Gift of Mrs. Albert Blum, 1920 (20.79)
This wall hanging, called a kalamkari after the technique for producing it, is made of woven cotton patterned by a pen with mordants and resist mediums. The famous process could take months to complete because it required numerous laborious procedures before the final design was accomplished. The scenes in this example may represent unrelated episodes played out in different areas of a princely edifice and its garden. An elegant couple with a small naked child dominate the spectacle. A still life of vases and bottles separates them from three ladies dressed in beautifully patterned saris who seem to be hurrying to a rendezvous. Figures sit or stand on balconies, archways, and pavilions, mostly dressed in Indo-Persian or Indian garments. Two Europeans, perhaps representing traders living in the area, add an exotic touch. Below, a courtly reception unfolds in a landscape with musicians, servants, guests, and even cats and other animals in attendance upon the nobles. Above, a row of standard-bearers, princely figures, and an ox cart march in procession toward an unseen goal.

Citation for this page:
"Kalamkari wall hanging [India, Madras region] (20.79)". In Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–http://www.metmuseum.org/toah/hd/intx/hod_20.79.htm (October 2006)

I hope the Met does not mind me copying this for my blog.

The celebration continues.... 'Images of India'

We were treated to more Indian culture the last few weeks. They were two very high profile events and both enjoyable. (I am running a little late as my computer failed and I also took a break from blogging.)

First was an event, showcasing Anuradha Pal and a group of women artists at the Thai cultural centre's larger auditorium. It was an important occasion, Bangkok’s 9th International Festival of Dance and Music, celebrating the 80th Birthday of His Majesty the King. The occasion was graced by the presence of HRH Princess of Thailand, Mahachakri Sirindon. Anuradha Pal is one of India’s leading and most innovative percussionists. Stree Shakti is an all-female Indian percussion ensemble. They performed using traditional percussion instruments like tabla, ghatam, mourching and mridangam.The percussionists and the accompanying sitar artist performed with enthusiasm and extremely well. It was enjoyable for its vigorous energy and its uniqueness as it was all women. Mourching was specially enjoyable and a surprise as some of the sounds created were really different and a first time for me.

This followed by Khatak dances presented by Pallabi De and her group , nice and innocent. One usually expects Khatak to be a little more sensuous. The dresses were modest and would have earned a praise from my grand mother. In addition the large auditorium made them look really small. Gudia, I think is the word that described the girls who performed.

It became nicer with a reception hosted by her H.E. Latha Reddy, the very gracious Indian Ambassador to Thailand, on behalf of the Indian Embassy, before the program started. Some excellant snacks and beverage set the right mood for the ensuing program.

The other was an exhibition of paintings, Images of India, Modern and contemporary art by Indian artists. The occasion, organised by the Embassy of India, was to celebrate the 60th anniversary of India's independence and the 60th Anniversary of Establishment of India-Thailand diplomatic relations. This was at the Amari Atrium hotel and was inaugurated by Hon. Pranab Kumar Mukherjee, External Affairs Minister of India. It felt nearer home as Viji (Mrs. Vijayalakshmi Hashim) organised the whole exhibition as its curator. A lot of thought had gone into the exhibition.





It was a sequel to the exhibition 'Art Beyond Words' held last year in May 2006. We can see it was a lot of work. The very well made brochure given to us says it all. She had paintings from as many as 47 painters on display.

Viewing a painting was very different from listening to music or watching a dance. It is a very personal experience for the viewer of a painting. For me painting is associated with the books I read and the movies I saw as an young man. Vincent Van Gogh, who cut off part of his left ear when a friendship broke, suffered recurrent bouts of mental illness, which led to his suicide. Henri de Toulouse-Lautrec and his provocative images of Paris life and Paul Gauguin, frustrated by lack of recognition at home and financially destitute, come to my mind. They all led very intense but decadent lives, did not make any money and died young.

We of course had our exposure to Ravi Verma and his handsome gods and comely godesses. I don't think we even thought of it as art! It was all part of our puja room. Then I remember straying into Jehangir art gallery in Mumbai to look at paintings whenever there was an hour or so before I caught the train back to Pune. The gallery was invariably deserted, especially if it was paintings by an unknown artist. I remember a lady artist sitting all alone waiting for a prospective buyer and not really a straggler like me. But, she was gracious enough to come and talk to me as I looked around. Her paintings were all about Ganapathi and were actually good. I am sure she would have a made name for herself and sold some of her paintings by now. Would have been a good investment if I had the money!

Coming back to the exhibition, as I walked in behind the VIP's, I noticed that there were the usual familiar and famous artists whose paintings one would automatically recognise. There were also many new (at least for me!) paintings which I enjoyed viewing. The best part was to meet an artist physically present there. It was nice talking to Aelay Laxman and getting to know him and his views. I liked his work and was glad to know that he is doing well. He looked a total opposite to the picture of artists who had engaged our mind and excited our imagination as kids. We all wanted to be painters and live in the left bank of the river in Paris!

Actually it is good to see that artists and their paintings doing well during their life time and not later. It is indeed nice that Viji had invited an artist to attend this high profile function. It is surely an honor for an artist to be introduced to a very senior minister of the Indian Cabinet, The Ambassador and other dignitaries who were present on the occasion.

I had a chat later with Viji about her work as a curator and 'Veda Arts'. She says sourcing is difficult for an exhibition of this type, to be able to display paintings from the various known schools, and lesser known schools of painting. While some were on consignment, many she had to buy them outright.

Most of the artists are young, younger than me except about a quarter of them and can be termed as post Independence. Many studied in art schools, the list of schools is impressive in that it covers so many cities across India. It is heartening to see students from art schools in Goa, Guruvayoor, Indore and Thiruvananthapuram adding to list from others in Bangalore, Baroda, Chennai, Hyderabad, Kolkata, Mumbai and Pune. There was a sprinkling of self-taught painters and those with international education and exposure. (I hope she will come out with a Web-site about all these painters so that we can get to know more about them and their work.)

She has succeed in her effort to show us a mix of traditional cultural themes and of abstract paintings. She said, she likes to do more with southern painters at the moment and introduce them to the collectors and art lovers. She feels that people here are not aware of the growth and the interest Indian art has created recently. She started as a collector and now enjoys the role of a curator and organising exhibitions. She likes the challenge it affords in making a selection of painters, their work and putting them all together in an exhibition including how it is displayed.

I am sure she is having fun, as a lover of art, by promoting the known and the not so well known through her 'Veda Arts'. http://www.vedaarts.com/

She also acknowledges that there is money to be made by the buyer as well. Indian paintings are doing well and we could see it proven from the exhibition. Modern Indian painting is not only doing well but has really gained momentum and finding a place of its own in the world of art. Art has definitely flourished in our Independent India and it does make us feel happy and proud.