COMMUNICATION DESIGN AS AN INTERFACE Limitations and scope of Banjara Embroidery
Abstract It’s been years that designers and artisans are coming together for various purposes, whether it’s collaboration for new ideas or to lift up the craft. Designers become an intermediate or bridge between the artisan and the market. The interaction is a joint venture of the designer’s intervention and the authenticity and skills of the craftsman for the craft. During this interface one always seeks the end product, but that’s something in between which is very important, it’s the process. What happens during the process leads to the execution and which may or may not overlap with the initial objective of either the designer or the artisan. With their ability to conceptualise, provide the creative direction and put together their ability and technical inputs along with design perspective, the designers are supposed to give a unique product with losing the authenticity of the craft. While the interaction there will be certain shortcomings and clash within the designer and the artisan as two different minds with diverse perspective are coming together for a common objective. These shortcomings can be overcome by communication solutions.
Introduction Banjara needle crafts are traditional handmade fabrics made by Banjaras in India. They are made in tribals Lambada habitation known as Thanda. It is a renowned craft and this art form is also valued by large clientele. In Andhra Pradesh it is practised in Yellamathanda. Yellamathanda is small village in Chittoor disctrict of Andhra Pradesh comprising of approximately 300 houses. Each household works for the craft and mostly the ladies of the house actively participate in this. This craftwork is the major source of their income and also it has helped them become independent. However, every craft has its own limits and opportunities which decide whether the craft is on the verge of extinction or not. It is very important that we preserve our crafts as these are part of our culture and diversity.
Objectives 1. 2. 3.
Understanding perceptions and aspirations of consumers To identify gaps in existing communication gaps To develop concepts to overcome the gaps
Methodology 1.
Survey Interview
According to the survey most of the people believe that Banjara craft is very colourful, vibrant and over the top. Most of the people believe that the products of the craft are something which can be worn or used occasionally. This misconception of people about the craft has to be addressed as this can become a major threat for the craft by limiting its demand only to specific seasons and occasions. There are a lot of efforts made by fashion designers to contemporise the craft and making consumer friendly designs so that they can relate to it and doesn’t end up in delusions. The survey shows that people value the craft and its authenticity, moreover there is demand for the craft but nowadays people mostly prefer brands over handicrafts as brands are relatable to the consumer on a daily basis. These issues can be resolved if the communication gap between the customer and the craft is filled. There should also be a platform where people have easy access to the craft and they should be educated about the craft periodically so that they can also contribute to raise or make better situation for the craft. Fashion can be fad but culture is classic it’s here to stay as it’s our identity.
QUESTIONNAIRE 1. Name 2. Age 3. Profession 4. Are you aware about the following crafts Bidriware Dokhra Banjara textiles and jewellery Silver filigree Pochampally sarees Kalamkari Bandhani Ikkat Zardozi Madhubani Paintings 5. Have you ever bought any of these? Yes No I am not into craft, I prefer brands 6. What comes to your mind when you see this woman in the traditional Banjaran attire ?(adjectives describing the costume) 7. Do you own something which is of Banjara craft? Yes No 8. Out of the below mentioned products how many items are you aware of Ghagra cholis Quilts Batwas(small embroided potli/purses) Bags Cushion covers Bed spreads Jewellery Wall hangings Duppatta 9. Would you like to buy something of this craft 10. When would you like to wear these clothes Occasionally Casually (every day wear) 11. How informative was this questionnaire with respect to the Banjara Craft?(Rate this)
QUESTIONNAIRE RESPONSES
I got over 30 responses
People responding to this survey were between the age group of 18-31 years.
Most of the responses are from Students.
19 out of 30 people are aware of what Banjara textile and jewellery is about.
73.3% of the people own something or the other products of the Banjara craft.
While most of the people consider that it’s authentic, colourful and beautiful at the same time they also believe that it’s bright, bulky and over the top.
Above mentioned products are very relatable and almost all of them know about most of the products.
41.4% of the respondents own the Banjara craft products.
Amongst all 60% of the people are those who are interested to buy the products of the craft and 36.7% are those who might show interest.
Almost 93.3% of the people think that Banjara craft clothes can be mostly worn only on special occasions.
Most of the people are those who don’t know much about the craft.
2.
SWOT Analysis
Strength 1. It is a well-known craft. 2. Artisans are willing to work on this craft and are also interested in passing it on to future generation. 3. People value the craft a lot and are willing to spend on it. Weakness 1. 2.
Similarity in designs over the years Most of the people find the craft flashy, colourful and bulky to use it for daily wear.
Opportunity: 1. There is scope of contemporisation so that people show more interest towards the craft. 2. There is a lot of audience who is willing to invest in this craft so by providing new designs the consumer circle can be widened 3. Getting craftsmen and consumer on the same platform for the personal touch of customization. 4. Communication designs needs a lot of work. Threats 1. As people have a misconception that it’s more like a costume so people will only be willing to buy it occasionally therefore it’s limiting the clientele. 2. There is as such no means where people can directly contact the artisans. 3. The ratio of effort put in by the artisan and the amount received in return is not balanced.
3. Communication designs To fill the gaps between the consumer and the craft the following things can be done: Proper legit working website to take orders from the customers, logo for the group in the village working for the craft (Logo as a GI for the societies of Yellamathanda as an authenticity symbol), look book of the products where proper shoots of the craft can be presented, labels and tags with address of the craft and other details about the products, packaging design of the product to make it attractive, video shoots of the process can be advertised under state tourism etc.
Conclusion Banjara is a well-known craft with its own unique style of needle and mirror work. Such level of perfection and authenticity is very rare. The crafts are in danger as consumers have trusted brands and craft is not anymore a part of their daily life. Earlier people used to take pride on their culture but now the situation is different, efforts are made so that people can realise the importance of their crafts so that it can go on for generations. Consumer needs customisation which is his/her personal touch to everything if craft provides such an opportunity consumers are ready to spend on it. There must be a program where people get to visit all the craft clusters so that they can closely go through the process and collaborate with the artisan to discover the craft to another level. The stakeholders (artisans) of the crafts must be rewarded for their efforts to carry forward the art. Communication design solutions mentioned if implemented then the craft can take a new and progressive turn.
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