Session 118 summary
Segment 1: Origins
Samanda, hailing from Meghalaya, one of the seven sister states of North East India, belongs to the Khasi tribe, one of the three major hill tribes alongside the Janitas and the Garos. Despite their differences in language, attire, and customs, all three tribes share a matrilineal system, where inheritance follows the line of the mother. For instance, Samanda inherited her surname from her mother’s clan name, reflecting this cultural tradition of passing down not just the name but also property through the female line. Within these tribes, men typically assume roles in decision-making and often lead households, with significant roles played by maternal uncles or brothers. Craftsmanship is integral to these cultures, often practiced communally in village clusters. For instance, in Mawsynram, known as the wettest place on earth, bamboo craftsmanship thrives, while in Lumding, women specialize in rearing silkworms and producing eri silk textiles. These crafts are often passed down through generations, with recent efforts seeing a resurgence due to support from government policies and a renewed emphasis on sustainability and cultural identity. Samanda observes a shift in attitudes towards these crafts, with artisans taking pride in their work despite challenges. This resurgence reflects a growing appreciation for traditional craftsmanship in the face of global challenges, highlighting the importance of retaining cultural identity and heritage.
A multitude of values are intricately woven into the craft through culture. What Samanda implies by this is that, as she mentions, craftsmen often work to a specific tune. There’s a story shared by one bamboo artisan with Samanda, where in the crafting process, if ideas fail to materialize, they invoke the wisdom of God, the supposed creator, to inspire creativity. It’s fascinating how such beliefs are interwoven into their work, particularly when considering the regional consciousness of sustainability. Artisans possess a profound understanding of sustainability, evident in how they embed it into their craft processes. This indigenous approach not only honors their heritage but also demonstrates forward-thinking, surpassing urban perceptions. Moreover, traditional techniques and processes involve specialized tools and methods, often derived from their local context. This community-driven approach fosters sustainability, as it enables them to utilize local resources resourcefully, creating livelihoods in the process. Lastly, the storytelling aspect is deeply ingrained in the craft due to its contextual nature.
Samanda has been immersed in the realms of craft and design for the past 2-3 years, with her most recent project focusing on examining the handloom craft sector in Meghalaya. She sought to identify the prevalent issues and determine how design interventions could bridge these gaps. Sharing a snapshot of a typical handicraft store situated in the heart of Shillong, the image portrays the common items on display and highlights feedback garnered from previous research. One key observation was the lack of authentic appeal. When juxtaposed with crafts from other regions in the Northeast, it becomes challenging to discern the uniqueness of Meghalayan crafts. This absence of distinctiveness is a concern echoed by many consumers. The designs fail to align with evolving consumer preferences and modern needs. Since these products were conceptualized in an earlier era, consumers struggle to grasp the design process or envision how these items could integrate into their lives or enhance their quality of life. While designers and creative individuals possess the capacity to envisage such scenarios, the average consumer finds it daunting. Furthermore, logistical challenges such as transportation and carrying of goods exacerbate the situation. High logistics costs are incurred for maintaining low inventory levels. Drawing from her background in industrial design, Samanda emphasizes the importance of concepts like modularity and stackability. These principles can significantly propel the industry forward. Ultimately, consumers seek products that are aspirational and add value to their lives. Samanda identifies storytelling and the inherent value of handcrafted items as pivotal factors driving consumer interest in craft products. The inability to envision these products in their daily lives creates a significant gap in consumer engagement.
Segment 2: The Inception of the Idea & Design Methodology
The timing played a significant role in the inception of Samanda’s project, coinciding with her involvement in another project focused on revitalizing the handicraft sector through contemporary design. This initiative took shape amidst the pandemic, a period marked by widespread confinement and increased online activity. Additionally, the unprecedented popularity of the Netflix series “The Queen’s Gambit” further influenced her thinking. These factors, combined with the ample time afforded by the pandemic and her ongoing research, culminated in her contemplation of chess. Traditionally perceived as a game, chess possesses intricate forms, craftsmanship, and symbolism upon closer examination. Its visual appeal is paramount, whether as a decorative element or a functional playing set. Each chess piece carries its own identity and purpose, encapsulating a profound concept that resonated deeply with Samanda’s imagination and prompted her to embark on the project.
In discussing her design methodology, Samanda outlines her approach to addressing the problem statement of developing new designs for individuals seeking authenticity and artisanal craftsmanship. She decided to explore this concept further, employing the conventional divergent-convergent approach. Beginning with the defined problem statement, she commenced the process with data collection and synthesis & analysis. Subsequently, she revised the design brief, followed by brainstorming ideas and forming concepts. The next steps involved prototyping, user testing, and gathering feedback, leading to the refinement of the final product. Throughout the process, there were stages where experimentation yielded unsuccessful outcomes, necessitating recalibration. Chess serves as more than just a game; it acts as a tool for expressing form and identity. Delving into the origins of chess during her project, Samanda discovered its roots in India, dating back 1500 years. She found it remarkable how the game evolved and spread across Asia, the Middle East, and Europe, adapting to various cultures and taking on diverse forms. With her project, Samanda aims to bring chess back to India, specifically to the Northeast region. Viewing chess pieces as art forms open to interpretation, each piece possesses unique abilities, adhering to a hierarchy and rules. Samanda shares pictures exemplifying different cultural interpretations of chess. The first picture showcases the Russian version, distinctly Russian yet unmistakably chess. The joyous representation of their culture is evident. The second picture depicts an African take, highlighting cultural elements while maintaining the essence of the game. Ultimately, chess is a game of form, highlighting the significance of elements that imbue form with meaning. Samanda further illustrates this concept through abstract examples, emphasizing the versatility of interpretation. With advancements in technology, intricate forms can be achieved through methods like 3D printing or using emerging materials, expanding the possibilities of chess design.
In addition to its form, chess is a structured game with rules and functional aspects, all of which were integral to Samanda’s project. This included considerations such as the number of pieces for each player, the size of the board, and the differentiation between the two colors. Standards for chess sets, especially those intended for competition use, dictate specific criteria regarding appearance, size, and the ratio of pieces to the board. However, in Samanda’s case, her focus shifted towards exploring cultural interpretations and emphasizing the form aspect over competitive standards. Her approach treated the project more as a cultural experiment than a competition. Consequently, she took certain liberties with her project to delve deeper into the form and cultural significance of chess. Presenting an image of the traditional chess set pieces, Samanda observes the gradual size decrease from the king to the pawn. However, she points out a notable difference in the chess set developed through her project. In this set, the progression isn’t strictly linear; instead, it fluctuates, resembling a musical composition with peaks and valleys. She attributes this unique characteristic to the cultural symbols incorporated, which emerged from her research.
Segment 3: Ideation & 3D Visualisation
Moving on from technical considerations, the process transitions to ideation and visualization. Discussing the composition of each side’s pieces, Samanda notes the presence of six pieces for each side, totalling 16 pieces overall. This includes eight pawns and one each of the king, queen, two bishops, two knights, and two rooks. She proceeds to elaborate on the symbolism and inspiration behind each piece, a result of careful consideration and refinement to ensure compatibility with their counterparts in a standard chess set.
For the pawn, the inspiration draws from simple Khasi folk (people), reflecting its status as the most basic piece on the chessboard. Moving on to the rook, typically symbolized by a castle, Samanda opts for a monolith, a stone structure often erected to commemorate significant events. These monoliths, commonly found in clusters of three, with one lying flat representing the female stone, hold cultural significance in Khasi tradition. The knight, traditionally represented by a horse, takes on the form of a rooster in this set, chosen for its cultural importance. In Khasi culture, the rooster symbolizes light and new beginnings, with a saying attributing the start of the day to the crowing of the rooster. Furthermore, there’s a deep-rooted myth linking the rooster to the creation of the universe, making it a symbolic representation of both daily renewal and cosmic genesis. As for the bishop, a revered figure in traditional chess sets, Samanda selects the Klong, a type of gourd hollowed out and utilized for ceremonial and ritual purposes in Khasi culture. This choice aligns with the symbolic significance and reverence associated with the bishop piece. Continuing with the design choices, Samanda opts for the female dancer and male dancer motifs to represent the queen and king, respectively. These figures symbolize the essence of Khasi culture and serve as tributes to their tribal heritage. Samanda expresses a sense of pride in envisioning individuals adorned in traditional attire, reflecting the richness of their cultural heritage.
Transitioning from conceptualization to the design process, Samanda begins by translating her ideas from abstract concepts into tangible sketches. While exploring various possibilities, she refines her designs, retaining elements that resonate with the traditional chess set, such as incorporating a slit reminiscent of the bishop piece. Throughout the process, she strives to maintain a balance between adherence to tradition and the introduction of abstract elements.
Samanda delves into the Khasi philosophy of moderation, known as “Ka Jinglong Adkar,” emphasizing the importance of striking a balance. She contrasts this with philosophies from other cultures, such as Japan’s kintsugi and ikigai or Germany’s “less is more” approach. Amidst the array of tribal philosophies, she finds resonance with the notion of moderation inherent in Khasi culture. Drawing inspiration from this philosophy, Samanda aims to find a middle ground in her design approach. She seeks to avoid excessive ornamentation, as seen in the Russian version, or excessive abstraction, as observed in previous examples. Instead, she aims to infuse her designs with elements of culture while incorporating a sense of minimalism. This philosophy from Khasi culture serves as a guiding principle in shaping her design vision. Transitioning from the conceptual stage to the tangible, Samanda emphasizes the significance of moving from 2D sketches to 3D prototypes. Recognizing the importance of clear communication with artisans, she underscores the value of visual aids in facilitating understanding, particularly when introducing new designs. By creating 3D prototypes, Samanda provides artisans with a concrete representation of her ideas, easing collaboration and communication. This visual medium proves instrumental in bridging the gap between conceptualization and practical implementation, fostering a smoother exchange of ideas and ensuring alignment in the design process. One significant takeaway from this project is the expedited progress facilitated by transitioning from 2D sketches to 3D prototypes. Samanda reflects on the process of translating each piece from a 2D format to a 3D one, highlighting the evolution of the designs. For instance, the rook evolves from multiple monoliths to a single, imposing structure, drawing inspiration from the giant monoliths found in the Jayantia Hills. This incorporation of cultural elements demonstrates the interconnectedness between tribes. Similarly, the knight undergoes refinement, transitioning from a simplistic form resembling a chicken to a more dynamic and reverent representation of the sacred animal. The transformation is evident in the 3D model, adding depth and character to the piece. Moreover, the bishop’s design is influenced by its functionality, incorporating a cutout reminiscent of the hollowed klong, a gourd used for ceremonial purposes. This adaptation maintains a balance between honoring tradition and infusing the design with subtle symbolism. Overall, the project underscores the importance of striking a balance between preserving cultural heritage and innovating with contemporary design elements. Through iterative design processes and attention to detail, Samanda successfully translates cultural motifs into visually compelling and functional chess pieces.
It serves as an homage, yet with its unique interpretation shaped by cultural nuances. Delving into the female dancer’s design, Samanda highlights specific elements, including a bun at the back, indicative of meticulous attention to detail while ensuring the design remains adaptable for miniature replication. This consideration aligns with the practicality required for craft production. The slender proportions of the female dancer’s figure contrast with the bulkier physique of the male dancer, a deliberate choice to capture the essence of femininity. Additionally, subtle details like a turban-like adornment and a suggestive hand gesture add layers of symbolism, drawing inspiration from traditional dance attire and movements. These design elements, while rooted in cultural references, are crafted with a degree of abstraction to evoke the essence rather than a literal representation. Embracing an organic approach, Samanda aims to create pieces that resonate with viewers, sparking imagination and connection to the cultural inspiration behind each design. This approach challenges conventional perceptions of craft, urging a re-evaluation of its contextual representation and marketing.
As Samanda discusses the design process further, she emphasizes the organic nature of her approach, highlighting a departure from linear methodologies. She reflects on the common oversight in craft marketing, where contextualization often lacks, hindering consumers’ ability to envision the product’s placement or utility. She emphasizes the role of design and visualization in providing this context, enabling stakeholders to conceptualize the product’s purpose and setting even before its creation. By employing 3D visualization techniques, Samanda demonstrates how such tools aid in pre-emptively addressing questions regarding scale, placement, and functionality.
Drawing attention to the difference between two images, she points out how one lacks scale, while the other clearly depicts dimensions, streamlining comprehension. This aspect of design and visualization, Samanda suggests, offers a comprehensive solution, pre-emptively addressing uncertainties and streamlining the crafting process.
Segment 4: Crafting, Collaboration with Artisans & Prototyping
In this phase of the project, Samanda delves into the intricacies of crafting, collaboration with artisans, and prototyping. She recounts her collaboration with two distinct entities: a wood artisan named Khraw and a carpenter, each chosen for their unique skill sets. Khraw, a local wood artisan with a penchant for intricate handcrafted work, proved invaluable to the project. Samanda describes how she shared her renders and ideas with Khraw, who then commenced work on an initial prototype. Utilizing an old chessboard as reference for size, they ensured alignment with the desired ratios for each square. One noteworthy aspect of their collaboration was the utilization of waste wood from other industries. Khraw’s expertise allowed him to transform these scraps into miniature chess pieces, showcasing an innovative approach to sustainability. While a carpenter could attempt similar tasks, the necessity for larger wood pieces and different techniques makes artisanal involvement crucial. Samanda emphasizes the artisan’s ability to repurpose waste materials effectively, fostering a cyclical approach to production. This insight highlights the artisan’s pivotal role in sustainable crafting practices, offering a pathway for future endeavors to integrate environmental consciousness into design processes.
In terms of wood varieties, Samanda emphasizes the use of local resources. She explains that “Dieng” means a tree, with “Dieng Laphing” and “Dieng Bti” being the specific varieties utilized for crafting the chess pieces. The former, “Dieng Laphing,” is characterized by its whiter shade and softer texture, while the latter, “Dieng Bti,” has a darker hue and slightly tougher composition, yet still suitable for wood carving. Samanda notes that these locally-sourced materials were complemented by a varnish coating, contributing to the finishing touches of the pieces. This sourcing strategy reflects a commitment to utilizing indigenous resources while ensuring quality and durability in the final product.
In the crafting of the board, Samanda collaborated with Maverick, a skilled carpenter renowned for his expertise in furniture making. Maverick’s proficiency in finishes and carvings made him the ideal partner for this aspect of the project. Unlike Khraw, the artisan who worked on the chess pieces, Maverick possessed the know-how required to execute the board’s design flawlessly.
Their process began with repurposing an old chessboard, aiming for a minimalist and lightweight design. Initially considering plywood for its weight-saving potential, they encountered challenges such as warping and finishing issues. Determined to maintain a clean and lightweight product, they revisited their approach, opting instead to utilize local wood varieties – specifically, Dieng Laphing and Dieng Poma. Their revised method involved using a single piece of Dieng Laphing as the base, with Dieng Poma inlaid to highlight the board’s variations. This approach not only showcased the unique qualities of each wood type but also aligned with their goal of simplicity and functionality. Through iterative processes and collaboration with skilled artisans, Samanda and Maverick achieved a finely crafted chessboard that harmonized aesthetics with practicality.
Segment 5: User Testing & Feedback
After obtaining the first prototype, Samanda sought feedback from chess enthusiasts, including players and experts, to refine the design. One recurring suggestion was to consider scaling up the size of the chess set to enhance its grandeur and appeal, without compromising its portability. This adjustment would also benefit the artisans, as it would allow for easier execution without excessive shrinking of the pieces. Additionally, there was a recommendation to offer two sizes of the chess set, catering to different preferences. Samanda even proposed the idea of creating a life-size version, envisioning it as a decorative element or installation piece. Exploring different materials for future iterations was also suggested, with a focus on enhancing the weight of each piece to enrich the gaming experience. This could involve incorporating magnets or alternative materials to add substance and tactility to the pieces.
Acknowledging that the initial prototype primarily focused on form, Samanda welcomed this feedback as an opportunity to further enhance the overall gaming experience in future iterations.
Segment 6: ‘Hapdeng Ki Hima’ The Metaphor of Two Kingdoms
Samanda shared additional images of the first prototype, coinciding with an exhibition at the Nehru Center in London. The exhibition aimed to showcase crafts and culture from the Northeast region of India. Samanda was fortunate to have her chess set featured in this event, where it was named “Hapdeng Ki Hima,” which translates to “Between Two Kingdoms.” Reflecting on the metaphorical significance of the name, Samanda realized how well it embodied the essence of the chess set. This exhibition took place in October of the previous year. As part of the exhibition, Samanda submitted a written piece to accompany her chess set display:
“A question that struck me through the creation process was how I could reinterpret such a globally understood game and use it as a vehicle to dialogue with the world about the roots and traditions that exist in this parallel universe of Khasi Hills. Ultimately, this piece became the embodiment of that question. Hapdeng Ki Hima, or Between Two Kingdoms, can even allude to the culmination of this very exhibition, Two Kingdoms of the West and the Northeast.”
In reflecting on the metaphorical significance of the chess game, Samanda found parallels with the historical dynamics of clans and kingdoms in the Khasi Hills. She noted how the strategic manoeuvres of kings and queens in the game echoed past interactions between clans and kingdoms in the region, perhaps undocumented in conventional history books. This realization underscored the project’s capacity to illuminate such historical narratives, bridging divides between clans and regions within the Khasi community. Samanda considered this organic revelation to be a significant outcome of her project, one that emerged unexpectedly but profoundly enriched its meaning and impact.
Samanda shared glimpses from the exhibition, which showcased artisans from the Seven Sisters region, all contributing to the contemporary craft movement. The convergence of diverse influences—pandemic effects, pop culture, the juxtaposition of East and West, traditional and modern elements, and the interplay between global and local concepts—formed the foundation of the project. Bringing these ingredients together in a globally recognized game like chess, infused with local flavours and ideas, was both enjoyable and revelatory, marking a significant highlight of the endeavour.
Conclusion: Where can we go from here with Craft & Design
In Samanda’s perspective, the synergy between design and craft holds immense potential, particularly in today’s technologically advanced world where collaboration can span distances. Much of the project was executed remotely, demonstrating the advantages of leveraging technology and remote collaboration. Storytelling emerges as a powerful tool, echoing the sentiments of Steve Jobs, who emphasized its influence in shaping values and visions. For Samanda, storytelling is deeply ingrained in Khasi culture, being a tribe with a rich tradition of oral history. Incorporating storytelling into their creations not only preserves cultural practices but also promotes sustainability and community livelihoods.
By merging traditional practices with human-centered design principles, Samanda believes that they can create products with tangible impact, drawing from a wealth of insights and technologies. This approach transcends geographical boundaries, allowing for the incorporation of the best ideas from diverse sources. Samanda sees this fusion of culture, craft, and design as a catalyst for meaningful innovation, hoping to inspire others in the field to explore similar avenues. Ultimately, forums like these serve as platforms for sharing these ideas with the world.
About the Speaker
Samanda Pyngrope
Samanda Nora Pyngrope, a Design Consultant from Shillong in the North-Eastern part of India, hass a Master’s Degree from the IDC School of Design at IIT Bombay and a Gold Medal in Interior Design from the SRM Institute of Science and Technology, Chennai. Beyond her academic achievements, she possesses extensive experience in UI/UX, specializing in human-centric products and experiences. Her work is characterized by a dedicated effort to showcase and integrate Khasi culture into innovative and contemporary designs, utilizing technology as a tool for cultural expression. In addition to her consultancy work, Samanda has contributed as a Guest Faculty at the Design Innovation Centre (DIC), North Eastern Hill University (NEHU), Shillong. Here, she fervently advocates for design and creativity as essential thinking tools through teaching, discourse, and workshops. One of Samanda’s recent projects, titled “Hapdeng ki Hima – A Khasi Inspired Chess Set,” presents a unique interpretation of Khasi culture through form, craft, and visual art. This work gained recognition when it was featured in the “Celebrating North East India” exhibition organized by WNESN (Women of North East Support Network) at the Nehru Centre in London.
Khasi Culture and Design-led Interventions
The project and research focuses on new product development through collaboration between craftsman and designer to exercise a shared understanding of material, craft processes and a vision that is true to the culture as well as the craft involved.
