Cross-cultural creative potpourri

It’s been over a decade since Zahra Kazimi chose to reach out to women in five remote districts of war-torn Afghanistan. The idea was to empower them with skills and make them self-sufficient. This, in turn, would save intricate craftsmanship from the unruly Taliban who were destroying cultural fabric of the picturesque mountain country.

Kazimi’s proclivity towards indigenous craft and an undying passion to uplift status of women in a conservative nation has resulted in a fruitful association. She now works with over 480 women in these five districts and takes their work to different countries through exhibitions. She is one among many South Asian participants who are displaying various objects at the ongoing exhibition ‘Crossing Boundaries’ at Dastkar Nature Bazaar where craft organisations from Afghanistan, Bangladesh, Ethiopia, Pakistan, Nepal, Vietnam, and Uzbekistan are displaying an array of products.

“I am trying to preserve traditional Afghani embroidery khamak dozi and this is what I have brought here. The handcrafted purses, bags and dress materials have been created using contemporary designs to suit preferences of modern costumers,” Kazimi tells Metrolife.

Similarly, Ali Abrahami from Kabul has brought traditional carpets and rugs to the bazaar. Steering away from traditional designs, he has used modern patterns and motifs to make them appealing, but hasn’t tampered with the aesthetics. “The fights that you hear about, most of them happen far away in mountains. Business does get affected, but we have to work to keep the tradition going. Exhibitions like these help us to make new contacts.”

Showcasing for the first time is a team from Vietnam who have brought fabric flower and cross-stitching embroidery at the fair. These artificial decorative items have managed to garner a good response from the visitors. “It has been great so far. The reason why people are buying is because they aren’t expensive. Also, colourful flowers are appealing and would fit in any type of house,” says Huu Hahn from the Vietnam stall.

Apart from them, handwoven stoles, rugs and bamboo baskets from Bhutan, vibrant embroidered wall-decoration pieces, dresses and stoles with motifs based on everyday people along with great a collection of leather bags, pouches and wooden neck-pieces is what the Ethopian stall has for the visitors.

Closer to the home is Pradeep Kumar Sahoo who works for Anwesha Tribal Arts and Crafts that is associated with artisans of distant villages in Orissa. The organisation imparts these artisans training and helps them sustain their livelihood and the craft.
“We have a design management in place which directs these artisans to make contemporary jewellery and decorative items,” Sahoo tells Metrolife. An eclectic array of brass jewellery and traditional dokra decorative items are displayed at the stall.

While these exhibitions offer a fertile ground for these organisations and independents artisans to exhibit their works, they are also benefited by the exposure that comes along with a heavy footfall.

Contradicting the notion of dying miniature art is Mukesh Swami, who has been coming to the bazaar for the past two years. His great grandfathers used to work for maharajas who were great art patrons. However, the lack of patronage in contemporary times have dwindled their fate and the future of this craft. But Swami feels, “artists’ interest in reinventing the craft has led to its decline in popularity”.

 Swami comes from Bikaner school of miniature art, which according to him, is completely different from Mughal miniature painting. “The Mughal style focused more on courtyards and nature would be mostly in background. Whereas, Bikaner’s painting has a lot more to do with soft colours and nature,” he tells Metrolife.

Swami uses natural stone colours for the paintings and focuses on the finesse to deliver quality work. “Small paintings require more time. Painting depends on the quality and not size,” he points out.