Perspectives on work, home, and identity from artisans in Telangana : conversations around craft
著者
書誌事項
Perspectives on work, home, and identity from artisans in Telangana : conversations around craft
Palgrave Macmillan, 2019
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注記
Includes bibliographical references and index
内容説明・目次
内容説明
Providing an ethnographic account of the everyday life of a household of artisans in the Telangana state of southern India, Chandan Bose engages with craft practice beyond the material (in this case, the region's characteristic murals, narrative cloth scrolls, and ritual masks and figurines). In situating the voice of the artisans themselves as the central focus of study, simultaneous and juxtaposing histories of craft practice emerge, through which artisans assemble narratives about work, home, and identity through multiple lenses. These perspectives include: the language artisans use to articulate their experience of materials, materiality, and the physical process of making; the shared and collective memory of practitioners through which they recount the genealogy of the practice; the everyday life of the household and its kinship practices, given the integration of the studio-space and the home-space; the negotiations between practitioners and the nation-state over matters of patronage; and the capacities of artisans to both conform to and affect the practices of the neo-liberal market.
目次
- Chapter 1: Introduction The Seed The Subject Moving Through Ifs and Buts The Danalakota Studio(s) A. Cheriyal B. Boduppal 'What Is It Exactly That You Have Come to Do Here?' What Was I Supposed to Do? Guruji and the Ahsram Craft Through Conversations Chapter 2: Craft: Doing, Telling, Writing - Part 1 Materials and Technologies A. Cloth and Preparation of the Canvas B. Treating the Cloth C. Colour D. Preparing the Colour E. Mixing Colours F. Colours Within the Narative G. Brushes Chapter 3: Craft: Doing, Telling, Writing - Part 2 Training the Body: How to Hold the Brush? How to Sit? Painting, Writing, Story-telling A. The Outlines: Story-tellers and Artists B. Naqqal or the Under-drawing C. Making The Image: The Skin, The Garment, The Crown i. the red background ii. characters in profile iii. adornments D. The image is Alive: Sairatta and Odupu E. Finishing i. borders ii. signing off Only a Version of It... Chapter 4: 'Goddess' and 'King,' 'Migration' and 'Boon': Artists and Their Histories Origin(s) A. Outlining a History from Above Artisans As/And Historians There Is A Funny Story Behind It... Chapter 5: Craft-Through-Relatedness
- Relatedness-Through-Craft The Danalakota Household A. Continuity With Kin Practice Within the Danalakota Household: Making and Relating A. Studio-Within-Home-Within-Studio B. Women's Participation C. Vanaja and Padma i. Vanaja ii. Padma Pauti Tatvam A. Pauti Tatbam as Intellectual Transformation B. Pauti Tatvam as Political Transformation Chapter 6. Showing, Making and Selling for the Market 'Discovery' of the Craft 'Traditional' and 'Professional' ...I Am Helpless ...The Time When I Experiment Finding the 'Right Customer' A. Ethnographer as 'Right Customer' Conclusion Chapter 7: Desire for the Nation-State Discrete Crafts: Cheriyal Paintings and Nirmal Paintings Discrete Craftspersons: Master Craftsman Award Discrete Places: Geographical Indication of Goods Act A. Geographical Indication: A Context B. Benefits of Legal Protection i. ...this is our right C. Geographical Determination i. It Doesn't Matter Where We Live ii. We Are Afterall Artists From Telangana D. Identifying Producers i. ...mostly women ii. ...you become a naqqash Chapter 8: Conclusion
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