Art, Government, and People
Every place has its own distinct vernacular art to boast. Art and craft have always been a big part of any civilization. It symbolizes the centuries-old knowledge that a community own. More than the aesthetic tangible manifestation, it has a deep embedded intangible relation with civilization, culture, and people. It reflects the socio-cultural milieu of a community. Art also has a substantial contribution to the economy and upliftment of the community. After all, it is the second-largest employment generator next to agriculture in India. For the survival of a community’s identity, it is imperative to preserve and flourish art. Sustaining artwork and handicrafts can create a path towards attaining Athmanirbhata (self-sufficiency).
The moment one talks about art and culture, people tend to get drawn towards it and show genuine concern for its improvement. However, generally, the discussion condenses into blaming the government for not doing enough. So, what exactly should be the government’s role in this regard? Since traditional art and craft is generally associated either with tribal or people living in villages, who do not have much connectivity with the global market, it is the government’s responsibility to bridge the gap and to encourage and incentivize artists. The government of India has four major 4 schemes for empowering Indian handicrafts and their artisans.
- Ambedkar Hastshilp Vikas Yojna
- Mega cluster scheme
- Marketing support and services scheme
- Research and development scheme
These four schemes have broadly covered everything from research to marketing to empowered artists and self-help groups. All key factors for the upliftment of art have been touched by the schemes. Certainly, there is always a scope to do more and better. Every state has their policies and scheme for their handicrafts and handlooms. Now the question arises, if there are so many schemes and policies, why still the development of art and artist is shielded?
Before asking that question, a bigger question arises that if the schemes are doing their job at its fullest, if the handmade products are on the mainstream market and if people can afford it, will people buy such products? Do they buy such products if they see them in the market? If the answer is yes, the former question about development would not have come into picture. Unfortunately, as a society, we have failed to recognize the true potential of our art and also have failed to promote it.
What can we as common people can do in this regard?
Art cannot be considered in isolation. It must confederate with the artist and consumer. With no consumer, the existence of art would have not been possible. Learning and valuing an art form can create a difference. Unless the demand and acceptance of art are present from the market, it is very difficult for art to survive. Handicrafts like Kavad from Rajasthan, Thanjuvar doll from Tamil Nadu and Habaspuri Saree from Odisha are endangered art. Much such art and craft across the country are on the verge of dying because of the deserted market.
One of the powerful tools that common people have is social media. Social media like Twitter and Instagram are becoming a big part of the art industry. Both social media has turned out to be a great platform for small entrepreneurs to grow and meet their target consumer. Consumer too gets innumerable options in their phone easily and many a time cut out some middleman in their purchase. The best part of social media is the promotion of art itself. People trend their handloom, discuss it on an open platform, and flaunt their possession of handmade products. Such a discussion needs to be rampant and conversed more. It is one of the best mediums to educate and aware people. When people flaunt these arts, others try to cope with the trend and accept it more easily than the government’s request. Currently, the social media is driving the world. What we say, what we show, and what we see on social media, everything matters! The recent trend of handloom mask, saree, and fusion dress is a big example of how we can promote our art through social media. The market provides what its consumer asks. #VocalForLocal, #IWearHandloom #IWearSambalpuriHandloom are just some hashtags to look into.
One can argue that the choice of a product to purchase is a completely personal preference and should be left as it is. Well, as much as it is a self-conscience choice, there is no harm in providing a helping hand to our own artist and art. Not to forget that handcrafted products are more sustainable and have a very low carbon footprint. When it comes to design utility and upgradation of the traditional handmade product with present lifestyle, the role of designer (fashion designer, interior designer, architects, entrepreneur, product designer) come into the picture. Instead of conforming to western ideas, our focus should be towards making vernacular art as a fashion statement. Integrating both traditional and modern art into a new commodity should be encouraged. Fashion designers have started picking handlooms for their design works and have achieved to take the market course accordingly to a significant degree. They have moulded the ethnic textile into a new shape by creating a beautiful fusion out of it.
Handicraft products can enhance the interior to the next dimension, just like any handloom products enhance the fashion. Architects, product designers and interior designers have the scope and ability to redefine existing local craft traditions and artisan communities with their design, technology, and creativity. Through research, they can blend traditional art with modern technology to recast it into more usable and people acceptable form. With creative collaboration, they can change the stigma that is attached with the handicraft products that, it can only be brought from the fairs to be placed in a corner of the house. They have the competence to reclaim the lost glory of handicrafts through their stories. This trend is still missing in India. Unlike fashion designer/ fashion blogger, Architects, Product designers have failed to start a movement in this regard. This movement is also not possible without consumer acceptance. Every government schemes and every individual designer research have their limitation if the market does not welcome it. To start this movement both designers and clients have to come forward to support and promote both the art and artist. And it will accelerate only when people start learning and respecting art and when they find it trending. It is always easier to blame others. Let us not choose the easiest path and start doing our bit to save our community, culture, art, and our soul! #VocalforLocal !
