In the previous class, we watched The Hidden Treasures of Indian Art, a film by Griff Rhyss Jones.
- The shrine cloth from Ahmedabad- The shrine cloth produced in Ahmedabad by an ethnic community is handwoven and painted with natural dyes. The imagery mostly shows the Mata goddess surrounded by her devotees. The age old tradition of producing this cloth is kept alive by a strong belief system that exists within the community.
In Bhuj, Kutch, the style of dressing defines what community one belongs to and their status within the community. Within the Rabari community, we see how a major part of a Rabari woman's life is devoted to embroidery and this begins at a very young age. They are taught young and will continue to produce intricate and detailed pieces as preparation for dowry for when they are to be married off. This tradition has been passed down through many generations, but has been dying. At the end of the film we see this Rabari woman who wants change. She is not supportive of the age old tradition. She doesnt want her grandchildren to devote half their lives to embroidery, but wishes for them to be well educated and get good jobs in the cities. She believes that women are capable of much more and must not continue to waste half their lives doing something that will just be used to get them married off. A past experience and awareness has probably caused her to wish for change for the future generations.
This is the case with a lot of rural and ethnic, nomadic communities, where people are being educated and are moving to the cities in search of better jobs. They are more aware now and are looking to make better use of their time rather than spending it all on producing their craft. Keeping the tradition alive or preserving their culture is not a main priority when they are so driven by change. This is unlike the community in Ahmedabad that produced the shrine cloth. They are driven by faith and have a strong belief system which keeps their tradition alive and also because the practice defines them and gives them a sense of identity.
- The shrine cloth from Ahmedabad- The shrine cloth produced in Ahmedabad by an ethnic community is handwoven and painted with natural dyes. The imagery mostly shows the Mata goddess surrounded by her devotees. The age old tradition of producing this cloth is kept alive by a strong belief system that exists within the community.
In Bhuj, Kutch, the style of dressing defines what community one belongs to and their status within the community. Within the Rabari community, we see how a major part of a Rabari woman's life is devoted to embroidery and this begins at a very young age. They are taught young and will continue to produce intricate and detailed pieces as preparation for dowry for when they are to be married off. This tradition has been passed down through many generations, but has been dying. At the end of the film we see this Rabari woman who wants change. She is not supportive of the age old tradition. She doesnt want her grandchildren to devote half their lives to embroidery, but wishes for them to be well educated and get good jobs in the cities. She believes that women are capable of much more and must not continue to waste half their lives doing something that will just be used to get them married off. A past experience and awareness has probably caused her to wish for change for the future generations.
This is the case with a lot of rural and ethnic, nomadic communities, where people are being educated and are moving to the cities in search of better jobs. They are more aware now and are looking to make better use of their time rather than spending it all on producing their craft. Keeping the tradition alive or preserving their culture is not a main priority when they are so driven by change. This is unlike the community in Ahmedabad that produced the shrine cloth. They are driven by faith and have a strong belief system which keeps their tradition alive and also because the practice defines them and gives them a sense of identity.
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