Session 110 summary
Rubashi majored in fashion communication, and for about a year, her work or ideas in the project were somewhat related to fashion. Eventually, she became interested in exploring the traditional garment side and wanted to study its importance in today’s society. So, she started her research by looking into the evolution of the Bodo traditional garment called “Dokhona”. While studying the market trends and demand, a particular picture triggered her, not only in terms of how it has changed over time but also in its utility. There hasn’t been a drastic change in this model. When people think of traditional Indian attire, they often picture individuals wearing saris, kurtas, or turbans. However, India is also home to 705 officially recognized ethnic groups, known as scheduled tribes, each of which has its particular cultural dress. These garments carry the knowledge system of ancestors, which aids in fostering sustainable development. Therefore, her research is based on reviving textile heritage by decolonizing artisanal design. She named it “Aagor,” which translates to “identity” or “designing language.” It represents cultural identity, distinguishing one from others by providing a unique identity heavily reliant on design motifs. Regarding the Bodo community, they are an indigenous tribe in Assam, located in northeast India. They are known as the earliest settlers in Assam and renowned as the finest weavers in the entire northeast region.
The main problem she addresses is the loss of culture and identity over the years. Changes have been observed in traditional wares, taught practices, and transformations. The impact of Westernization and the imposition of colonial systems of power have threatened and overshadowed the culture and identity of indigenous people. So, Aagor has a very rich cultural tradition, but the inability to expose their cultural heritage within and beyond state limits has left them largely unrecognized. Additionally, in the current scenario, urbanization is eroding indigenous textile knowledge, and the importation of cheap fabrics and second-hand clothes has undermined regional clothing production. Furthermore, organizations are engaging in ethical washing of garment production by using textile pieces as decorations on commodities, branding them as indigenous. However, fake muga silk and other counterfeit silk products flood the market. The manufacturing process in developing countries is a critical concern.
During her residency, she endeavoured to study the insights of organizations’ initiatives in supporting indigenous textiles. It was observed that they often focus on sustaining the weaving culture while overlooking local traditional design. There’s a noticeable gap in producing traditional-based designs. Many organizations have attempted to establish systems that not only provide identity to the weavers but also support fashion designers in creating modern garments with stylized designs and patterns. These modern adaptations have garnered attention in today’s market, particularly among the youth, who are more inclined towards contemporary designs. However, the intervention of hegemonic design in textile traditions has been utilized as a development strategy, often following a market-driven approach that prioritizes fast production. Unfortunately, this approach ultimately hampers the livelihoods of the weavers. In exploring case studies, such as Monica, a weaver from Bo, and her involvement with the NGO “Weave Together,” valuable insights have been gained into the other side of the story. Monica emphasizes the need for designers and researchers to portray artisans’ not as vulnerable individuals but as strong, independent women passionate about their cultures. She believes in showcasing her role as the breadwinner of her family, highlighting her resilience and determination, rather than portraying her as weak or lost.
Another poignant story comes from an industrious woman, an ex-trustee of the living center, who was compelled to take a permanent leave due to a diagnosis of osteoporosis. She believed her condition stemmed from years of overwork in supporting her family. Sheela Basumatary, one of the town’s most seasoned expert weavers. Renowned for her unique Bodo pants resembling a dhoti without any stitching or cutting, her invention epitomizes zero waste craftsmanship. However, Sheila recounts how researchers exploited her by appropriating her idea and creation, promising assistance but failing to honour their commitments.
Therefore, Rubashi’s project aims to sustain textile heritage as an intangible representation of cultural identity by comprehensively understanding and acknowledging intangible cultural heritage. Three primary focuses emerge: preserving, protecting, and promoting indigenous knowledge. By grasping the interplay between the tangible and intangible, and adopting a native perspective on achieving decolonized design, Rubashi delves into UNESCO’s definition of intangible cultural heritage (ICH). According to UNESCO, ICH encompasses the living cultural legacy inherited from our ancestors and passed down to future generations. This includes oral traditions, performing arts, and more. According to UNESCO, the concept of authenticity, as applied to World Heritage properties, cannot be directly applied to Intangible Cultural Heritage (ICH) due to its constant recreation. They have delineated tangible and intangible forms as distinct entities. This prompts the question in Rubashi’s discourse: “Who defines and how do we establish the authenticity of an object?” While subjectivity may play a role, authenticity can be assessed through the object’s historical origin, rooted in indigenous knowledge. Rubashi argues that indigenous textiles are living artefacts, each possessing its own unique narrative and significance, contributing to a rich tapestry of natural and cultural diversity.
To delve deeper into this interrelation, Rubashi examines the oldest religion in the Bodo community, known as ‘Bathouism’. The term ‘Bathou’ comprises two words, ‘ba’ and ‘thou’, representing deep philosophical contemplation. This religion centres on the five elements, guiding individuals to contemplate nature’s essence from a spiritual perspective. As an integral component of understanding the human-nature relationship, communication transcends verbal expression. Designers serve as mediators, facilitating the attribution of meaning to objects. During her residency, Rubashi collaborated with artisans and designers to explore the significance of traditional textiles from a de-colonial perspective. It was noted that external perspectives, often embodied by designers, adopt a bottom-up approach, utilizing information to craft experiences. Conversely, artisans tend to follow a top-down process, drawing upon beliefs and expectations to interpret provided information. In a subsequent activity, participants sought to extract the meaning of motifs through ‘Bathouism’, a term associated with the Bodo community’s cultural practices. Aligning with the Boro’s adherence to the five principles governing daily life, each element is imbued with distinct colours and meanings, shaping an ontology viewed through an indigenous lens. Illustrated in the final line is a silk fabric, emblematic of this cultural synthesis. In the realm of silk, often regarded as a blank canvas for textile art, the fabric embodies elements of the word ‘bar’, which signifies air. This association aligns it with the colour yellow, symbolizing communication or the enhancement of hues. The motif usually showcased here depicts the eyes of a pigeon, a symbol rooted in ancient times where birds served as messengers through the air. The yellow motif at the top serves as a nod to this tradition. Moving to the next motif, it features a cocoon design, with the colour red symbolizing fire and the concept of rebirth. The silk cocoon thus becomes a symbolic representation of transformation, echoing the narrative of renewal ingrained in indigenous culture. Storytelling indeed plays a crucial role in sustaining textile traditions. Through studying textile within communities, several outcomes become apparent. Firstly, there’s a loss of meaning and history, accompanied by a gradual forgetting of cultures. Additionally, weavers are often relegated to the role of mere producers. This realization transformed Rubashi’s project, prompting her to design and modernize traditional traces. As she delved deeper into this topic, she recognized the importance of documenting these intangible stories and archiving them for future generations. This serves not only to preserve the heritage but also to empower the younger generation to uplift it further. These three themes have been central to the creation of her prototype.
To preserve and sustain this intangible cultural heritage, Rubashi primarily focuses on interactive and dialectical design. This involves sensory design to preserve indigenous knowledge, providing access, enhancing attention, creating awareness, and fostering value creation. Thus, she created a mobile-based website named “TexFile.” TexFile adopts a metaphorical approach, resembling a photo album. It symbolizes the preservation of indigenous textile heritage and knowledge. Why TexFile? It serves to encode the meaning of textile language. Rubashi’s idea revolves around blending motifs and designs within QR codes. These QR codes encapsulate all the gathered knowledge and information seamlessly within the textile itself. Rubashi delved deeper into the world of textiles and motifs. Through scanning the code, one can navigate to the website for further exploration. During her visit to Bodoland Silk Park, she noted the commendable initiative of offering free classes to rural residents and students, educating them on software and machinery used in textile printing and embroidery. However, she identified a gap in the development of local print designs. This sparked an idea for an app that could generate and print such designs for industrial use. Drawing inspiration from the Aruna motif, she conceptualized a design format incorporating embedded QR codes. While the project is still in progress, Rubashi intends to explore various themes and expand its applicability, including its integration into weaving techniques. The app facilitated the development and printing of designs, aiming to integrate them into commodities and garments. It served as a platform for learning, creation, and archiving for the future. The accompanying website served as an open space where all information and knowledge gained could be shared. Within the website, the “Alchemy” section delved into the meanings of motifs and patterns, offering insights into Bodo textile traditions and production processes. This transparency encouraged users to delve deeper into cultural understanding. Additionally, the “Finding Aboard” section offered users a gamified experience to further engage with the knowledge shared on the platform. Also, it includes discussions on colors and the significance of each color in relation to the five elements. In conclusion, Rubashi emphasizes the importance of understanding and respecting different value systems within organizations, designers, and indigenous communities. It’s crucial to recognize that cultural expression is fundamental to tangible heritage, and the relationship between tangible and intangible cultural heritage is interdependent. Safeguarding native knowledge is essential for preserving culture and identity.
About the Speaker
Rubashi Brahma
She is pursuing an M.A. in Design Research-led Practice in Social Design at LaSalle College of the Arts in Singapore. With a focus on decolonizing artisanal design within the context of Bordeux Trites in India, Rubashi is passionate about reviving textile heritage. As a visual and graphic designer, she aims to empower communities and uplift intangible heritage through open, ethical, and participatory documentation of cultural knowledge. Rubashi’s dedication to her craft extends beyond academia, as she actively engages in projects aimed at showcasing the rich textile tradition of the Bodo community. Her project, “Text File,” serves as a platform to document cultural practices and empower communities of practice. In addition to her academic pursuits, Rubashi is driven by a strong work ethic and a desire to excel in her field. She believes in continual self-improvement and embraces challenges as opportunities for growth. With a focus on creative projects, she seeks to leverage her skills and expertise to make a meaningful impact in the world of design.
