TRIBAL & FOLK TRENDS

IN FASHIONDr Manjula Jagatramka

National Conference on Emerging Trends, Fabrics

& FinishesJanuary 30th & 31st 2006

ERODE

Astonishingly

humanyet ‘so’ very

divine

The

art & craft

of

expressing

the

inexpressible

The term ‘folk’ has been related to a peasant society in which an oral tradition is most

prevalent.

In India, where there is a marked tribal-peasant continuum, the folk also

encompasses tribal (once called ‘primitive’) arts and crafts.

Folk art can be categorized as two- and three-dimensional artwork or as artistic and crafted

items that are handmade.

It can introduce uniqueness, individuality and beauty to Fashion.

Folk culture was disdained and ignored for long by scholars and historians but gained ‘respectability’ after Independence as an expression of ‘indigenous’ culture and a

celebration of the nation’s diversity.

Today, ethnicity is in vogue. The traditional paintings and crafts created in villages have

found urban niche markets in India and abroad.

The surging demand has resulted in certain distinct trends, clearly visible in

the contemporary evolution of all tribal & folk craft forms.

The product can only be marketable if it is attractive to the consumer i.e. the

traditional skill is adapted and designed to suit contemporary tastes and needs.

Design does not mean making pretty patterns.

It is matching technique with a

function.

Today, it is easier to buy a folk product through the internet than learn

about its history, the social relations of the community of producers and the

techniques that have been perfected over generations.

There are very few examples of ethnographic studies to ‘communicate tacit knowledge across cultures’, or to understand the ‘contending art worlds’ of craft persons and elite consumers.

The changing ‘materiality’ of folk cultures in general and the gendering of crafts in particular, needs to be archived through participatory documentation and using multi-media, such as photography, film

and video.

One can tentatively suggest that the collective solidarity of craftswomen’s groups beyond family and caste, and their ability to encompass a range of modern communication tools, would

have a vital impact on the sustainability of their art and livelihoods.

The most urgent need is to facilitate the formation of

craftsperson’s groups&

to develop their capacities to use a range of tools so as to

record the production process of the crafts

and explicitly include their own contribution

(often hidden from public gaze).

This is especially important because in the future the craftsperson may have to

assert new intellectual property rights (IPR).

It is a moot point whether it would be possible for the

Mithila village painters to claim the ‘Madhubani’ name under

IPR legislation such as

India’s Geographical Indications Act, 2001.

Another urgent need is for training to use electronic media (including the internet) to market their products directly to customers

without the exploitation of profiteering traders and the ‘protective’ intervention

of the men of their own communities.

If such a vision were realized, the crafts persons would gain the strength to

protect their intellectual & artistic knowledge, skills and earnings from the unseen ‘demons’ across the threshold.

Their art and craft might then enable them to traverse the rainbow bridge between mud walls and websites, oral traditions

and ICT…

The vital difference between the documentation of an oral tradition in

words and in visual images: while the one tends to inhibit future possibilities of

development, the visual is open, reflecting the changing inflections of a

living community.

In a mass-production world where everyone can have identical copies of

the same product, many customers seek a look that cannot be duplicated. One method of achieving a unique look is

through the inspiration of folk art.

In folk art the quality is less important than the charm of the piece.

Flaws in materials are sometimes considered charming, they may

have a motif that is taken or adapted from a native or folk

design.

Folk crafts are made by very real, down-to-earth people.

Fashion Designers who design the patterns for manufactured mass-

produced goods go to authentic folk sources for their inspiration, then

adapt, simplify or combine designs to create a pattern they hope will be in

sync with current market trends.

FOLK ART

CONTEMPORARY

Folk art as a pastime is alive and well in developed countries as well.

Craft supply stores exist in nearly every town and city

to meet our whims.

Professional crafts persons sell their work at fairs and bazaars,

through the internet and in catalogues.

They often will sell to a retailer or through a consortium.

The various cultural regions have their own distinct styles.

Jewellery is available in a variety of gold, silver, bronze and

mixed metal.

Tikamgarh, Jhabua and Sheopur-Kalan are some of the major centres for folk ornaments .

Ornaments made of beads, cowries and feathers are part of

tribal costumes.

Folk jewellery is most distinctive, highly artistic, elaborate and

varied.

Folk art can be an inspiration.

We should sense respect for the labour involved by displaying folk art with respect to its artistic qualities.

In other words, make the folk art seem important but not intimidating.

Thank you