Hope amid helplessness

Since adolescence there has been this confusion within me on how one's traditional roots can find a daily breathing space in the cosmopol...

Since adolescence there has been this confusion within me on how one8217;s traditional roots can find a daily breathing space in the cosmopolitan lifestyle. Trying to find this balance motivated my education and work, whether it be in the field of design, textile, fashion or arts and crafts.

In these few words I can only share my personal experiences. I cannot say any solution has been arrived at, only moments of satisfaction, which in turn gave rise to new ideas, offering different solutions or further questions. Even during my early learning process in jewellery restoration, I focused upon finding appropriate contemporary designs for heritage jewellery. That today the desire is to let heritage jewellery be itself, is a sign of the times, adding to the confusion.

Melange was conceived with the fusion of the past and present clearly in mind. To set a modern-day fashion boutique within a 100-year-old building site was one obvious merger. Here, the application of traditional knowledge bases of craftspersonswith the strength of the modern design proved successful. The contemporary fashion show held at the Royal Opera House, a heritage building, became one of those rare moments where confusion dissolved for the day. It seemed that an awareness had been softly created, and that the new and the old were beautifully living together. However, I could see the glamour hid the grime, and the reality of the work done by many others was not given enough recognition.

To a large extent the setting up of Morcrafts Morarka Centre for Craft, at the NCPA tried to redress his balance. By creating a space whereby the craftsperson and the urban user could interact, new opportunities opened up for all concerned. The Khadi Project, which tried to fuse our handspun national fabric with modern techniques of dyeing and other applications, gave the cloth another character and potential for modern use.

The recent Shakti Sutra Show at the Convocation Hall, Mumbai University, portrayed the woman in her various roles, from thetraditional to the modern. Again, the involvement, however fleeting, with an important building such as the Convocation Hall opened out related concerns regarding the fragile nature of conserving our architectural heritage. My work with INTACH makes one see the hopeful side, yet one also realises the helplessness one faces in tackling this vast problem. Nevertheless the effort must continue.I realise how much more can be done by all of us. Yet, I firmly believe, however small the contribution, it does make some difference. So the effort carries on, as it will, as it must.

Sangita Sinh Kathiwada is the director of the Morarka Centre for Research and Revival of Crafts