Results from survey

Soko Kenya

SOKO was set up in 2009 by Joanna Maiden. Her vision was for SOKO to provide the link between the international fashion industry and the community of Ukunda, Kenya..

SOKO is set up as a social enterprise with all profits being invested into the growth of SOKO and local community projects, their main aim is the improvement of the quality of life for Ukunda’s population through vocational training, employment opportunities and improved social services.

The reason I have chosen SOKO as a case study is because of the interest they have in local artisans and their talent. The enterprise engages with local cooperatives and crafts people through the sourcing of fabrics and manufacturing of garments. By using the local talent to make beautiful clothes, SOKO provides fair employment to this impoverished community. As mentioned in Phase 2 of my project, I would like to work within a community in India, learning from the locals, and teaching them what I know. SOKO provides a great example as to how this concept can be taken even further. 





This is a link to a video explaining what SOKO is all about:

http://www.youtube.com/watch?v=XEf1--hwWJQ

http://www.soko-kenya.com/

Response to questions (Tutorial April 5th)

When first asked to write a project brief, I knew I wanted to do something involving another culture and practical experimentation. Initially my thematic area was to be an exploration of Art throughout history, researching how it has been used and made, using the techniques learnt about to create design concepts using both historical and modern methods. I soon realized however that this was a vast subject area, which required focus. 

Whilst this is still my thematic area, I decided to focus on one culture in order to get the ball rolling. The work done in this semester will serve as a formula that can be applied to other cultures, i.e. research methods, experimentation with modern ways of creating ancient art, experimentation with traditional ways of creating ancient art and the fusion of these experiments in order to modernize traditional art forms, whilst making sure they do not die out. I chose Indian art because of its variety of ancient art techniques and because I had never really done that much research into Indian art, even though it had always interested me.

The intent of Project Development 2, is to build the foundation of the ‘structure’, so to speak. It involves in depth research into Indian art, how it has been used, why it has been used, and how it has been created. It also involves the experimentation with block printing out of an authentic context (this is the Negotiated study part). This allows me to experiment with bock printing in my own manner, using my own techniques and design process, it also allows me to use modern technology and various material not available in India, so when I come to the second phase of the project (learning and experimenting with block printing in an authentic environment), the trip to India, I will have a greater understanding and appreciating for the craftsmanship it takes to create this sort of art using traditional techniques. I will also use PD2 to research, plan and network for the trip, this means making contacts abroad which may be able to help me find exactly what I need when I am over there.

Phase 3 is what I have titled the ‘fusion’, it is effectively the combining of the traditional techniques and methods I have learnt whilst in India, and the used of modern technology, materials and themes available to me back home. My MA project, aims to use techniques learnt in a modern context, in order

to raise awareness, making these traditions more appealing and accessible to modern audiences.

The term ‘fusion’, in terms of my project, is the process of combining elements of various traditional techniques with modern methods and themes, giving traditional art a place in contemporary society.

An example of this sort of fusion can be found in my post “The Fat duck”. The post is about Heston Blumenthal, a chef who, like myself likes to balance old with new. He often takes old/historical recipes and presents them in an entirely modern way.

Why I have done this project

I hope that by doing this project, I will inspire other artists to incorporate more traditional methods into their own work.

Effect on me as a practitioner

In terms of the effect on me as a practitioner, it is about finding a balance between digital/handmade art and modern/traditional techniques.

The outcomes of PD2 will be a visual summary, taking storyboard approach in the form of a visual map of the project. The map will detail the journey in terms of the phases, particularly phase 1 as the others will be completed after the due date. It will summarize my research, experimentation, learning, trip plans, and future work.

Tutorial April 5th

These were some of the points discussed in the tutorial. Although they are dot points at the moment, watch this space for further developments and expansion...

Develop criteria for annotation of experiments

Statement of intent

Define what is meant by ‘fusion’

What is the outcome likely to be?

Why have I done this project

How has this improved my understanding in terms of my MA project?

Aspirations before and After

Final presentation – Visual journey/map?

Creative formula/structure that can be applied to other cultural art techniques. 

More about... Block Printing

For the negotiated study module, one of the aspects I have chosen to explore is block printing. Block printing is a form of dyeing and coloring fabric using wooden blocks. Even today, this technique is widely used in India, making it one of the largest manufacturers and exporters of block printed fabric. Block printing artisans use wooden, linoleum or metal blocks to create beautiful designs, which can be used again and again.

There are 3 main techniques that can be used:

Direct Printing

The cotton or silk cloth is bleached, then the fabric is dyed, unless a light background is desired. Thereafter, the fabric is printed using carved blocks, first the outline blocks, then the ones to fill color.

Resist Printing

Areas that are to be protected from the dye are covered with a mixture of clay and resin. The dyed fabric is then washed, the dye spreads into the protected areas through cracks, producing a rippled effect. Block prints are then used to create further designs.

Discharge Printing

The fabric is dyed, then, a chemical is used to remove the dye from the portions that are to have designs in a different color. These portions are then treated, so they may be re-colored.

The process in India

• The fabric is washed free of starch

• If tie-dyeing is required, it is done before the printing process, after which it is washed to remove excess colour. Then it is left to dry in the sun.

• The fabric is then stretched over the printing table and secured with pins.

• Colour is mixed separately and kept ready, as are the blocks. The blocks are made of teak wood and hand-carved. They are soaked in oil for 10-15 days to soften the timber.

• The colour is kept in a tray, which rests on another tray that contains a liquid made of glue and pigment binder. This gives the colour a soft base and permits even spreading of colour on the block.

• When printing begins, the colour is first evened out in the tray. Then the block is dipped in the outline colour.

• The block is pressed down hard on the fabric, to make a clear impression. Thereafter, other blocks are used to fill in colour.

• Once the fabric is printed, it is dried in the sun. It is then rolled in newspaper to prevent the fabric layers from sticking to each other.

• The fabric is then steamed, washed in water and dried in the sun.

• Ironing is the last stage

Centres of Block Printing in India

Block Printing in Gujarat

In Gujarat, the Paithapur families have practiced hand printing, by making intricate blocks, and printing their textiles using the mud resist-printing method. These prints are called Sodagiri (trader) prints. Dhamadka village in Gujarat is known for a block printed fabric called Ajrakh, the popular designs of block printing in this village are geometric, and the artisans use natural colours.

The other well-known centres for block printing in Gujarat are Bhavnagar, Vasna, Rajkot, Jamnagar, Jetpur and Porbandar.

Block Printing in Rajasthan

From Gujarat, the art of block printing spread to Rajasthan, where colourful prints of birds, animals, human figures, gods and goddesses are popular. The important centers for this form of hand printing are Jaipur, Bangru, Sanganer, Pali and Barmer.

Sanganer is famous for its Calico printed bed covers, quilts and saris. In Calico printing, the outlines are first printed, and then the colour is filled in. Bold patterns and colours are popular, they are printed repeatedly in diagonal rows. Doo Rookhi printing is also famous here, a technique where artists print on both sides of the cloth.

Bagru is famous for its Syahi-Begar prints and Dabu prints. The former are designs in a combination of black and yellow ochre or cream. The latter are prints in which portions are hidden from the dye by applying a resist paste. Barmer is known for its prints of red chilies with blue-black outlines, surrounded by flower-laden trees. The other famous prints are of horses, camels, peacocks and lions, called Sikar and Shekahawat prints.

Dabu Print Technique 

Block Printing in Punjab

The block printing from Punjab is not as famous as Rajasthani, however they do specialize in the art of a group of textile workers called Chhimba . The designs were usually floral and geometrical, but today, traditional designs have been displaced, and vegetable dyes have been replaced by chemical ones. The colours are light and pastel, and the motifs are usually mangoes, peacocks and nets.

Block Printing in West Bengal

The art of block printing is not traditional to West Bengal, and was introduced at the beginning of the twentieth century. Since then, Bengal's block printing artists have built on the traditional designs and created several of their own. In West Bengal, Serampur is the center of block printing, it is well-known for its bold and vibrant patterns.

Block Printing in Andhra Pradesh

In Andhra Pradesh, the block printing method is applied in the creation of the exquisite Kalamkari Painting. Kalamkari, as the name suggests, is artwork ( kari ) created with a pen ( kalam ). It is a combination of hand painting and block printing.

The two major centers of Kalamkari art are Sri Kalahasti and Masulipatnam.

The Masulipatnam designs are Iranian in character, with motifs of Persian origion, such as trees, creepers, flowers and leaf designs. In Masulipatnam, Kalamkari work is mainly done on bed covers, curtains and garments, using a combination of wooden block printing and hand painting.

In Sri Kalahasti Kalamkari work, temples are a major source of inspiration. It was because of the demand for scrolls and wall hangings with Hindu mythological stories, that drove Kalamkari to flourish in this village. These themes are painted in the panels, and there is a script painted along the border. The popular motifs are Hindu gods and goddesses. The work is done entirely with a brush-like pen.

http://www.india-crafts.com/articles/block-printing-in-india.html

Project Summary Posters

Negotiated Study Poster