Sharing each other craft techniques is the best possible way for artisans to grow in their field of specialisation as well as imbibe each other’s culture. Like in the case of Indonesian troika of Bregas Harrimardoyo, Caroline Rika Winata and Yuvita who are working in tie-dye and pottery in a seamless and harmonious way with their Indian counterparts in the fortnight-long mela at Dilli Haat. Just like crafts of the host country, the texture of the Indian cuisine also arouses their curiosity as they take a break from work and partake kidney beans, Kashmiri rista and Lucknowi biryani.
Organised by Dastkari Haat Samiti, the mela marks 70 years of diplomatic relations between India and Indonesia and celebrates 25 years of Dilli Haat. All of them have brushed up their skills in indigenous craft techniques. And the pottery and household items that will come from this constructive collaboration will be on display at the 33rd edition of the Crafts Bazaar at Dilli Haat on January 14.
Cheerful and diligent, potter Bregas is enjoying every bit of his work at Dilli Haat. He is grabbing eyeballs from art aficionados for his work in pottery pieces. “I am using Indian clay and glaze and mixing it with the Indonesian technique. Usually, I make patterns on pottery pieces with graffito technique. It is like surface carving. I normally do it in the Indonesian stoneware technique. Here I am using Indian terracotta clay. So I will glaze red terracotta and combine it with black patterns to create new designs, colours and patterns.”
He rues that Indonesia does not have the same quality of clay as found in India. “We do not get the red terracotta clay which can produce such fine cups and bowls. I am using both Indonesian and Indian patterns.”
Apart from the work front, it is his partnership with master artisan Harikishan that he cherishes more. “We have been working together like brothers for more than a week.”
Both of them share the same passion and dedication for crafts but have had different experiences in their respective careers. “Our techniques and designs differ but this work at Dilli Haat has been extremely productive as we have shared new design ideas and techniques which we were ignorant about.”
Impressed with his commitment to craft, Harikishan says Bregas loves to work with him . “When we both open the kiln after firing, it feels so good to see the results of our common work,” he adds.
“It is like we have been given birthday gifts,” comments Bregas, with a broad smile on his face, as he shows some of the samples.
Similarly, the innovative work done by Caroline Rika Winata with Abdul Wahab Khatri in tie-dye is there to be seen at Dilli Haat.
Learning experience
Caroline Rika Winata with Abdul Wahab Khatri
While they are jointly making lamp shades, they are also striking conversations and thereby sharing knowledge of each other’s technique. They have used indigo dyes in a manner that the shades reflect the colours of the sky.
Carolina says: “I am an expert in the Indonesian tie-dye technique. Here I am collaborating with Abdul Vahad Khatri, an expert in Bandhini. It has been a thoroughly enjoyable experience working with such a talented artisan .”
For Carolina, learning the Indian intricate patters of Bandhini, a part of tie-dye textiles, is fascinating. “I find the whole process interesting yet complex. As Bandhini patterns are so small, it is a challenge to make small motifs like Abdul does. The Indonesian style of tie-dye is with repetitive pattern of block print style, while Indian artisans have a painting style.”
Working next to her, Abdul says the duo will make a shawl, two sarongs and one lamp. “We have to work with adequate light as there are so many tiny dots that we have to construct in Bandhini,” he adds.
Indeed, Bandhini dates back to the Indus Valley Civilisation. It is done in Rajasthan as well as Gujarat. Abdul, hailing from Gujarat, says Kutch’s Bandhini is special as traditional designs are still intact in their pure form. “Its popularity can be gauged from the fact that big names like Tarun Tahiliani, Ritu Kumar and Abraham and Thakore have worked with us.”
It is a win-win situation for both as Abdul too is learning the Indonesian version of tie-dye. “So far, we have made a joint piece with scripts in both languages.”
Jaya Jaitly, founder of Dastkari Haat Samiti, says: “Both are tie-dye but there is a difference. The Indian version is about creating small dots in big numbers. It is finer and elaborate, whereas the Indonesian tie-dye is simpler and bigger and is about creating textures.”
Dissecting their work as a craft revivalist, Jaitly, says: “One scarf has Indian festive kites floating in the Indonesian Mega-Mendung, which means thunder clouds in the Indonesian language but in India it means clouds. This collaboration will lead to creative artworks that will integrate the two cultures.”
Common heritage
On the need for jugalbandi between the two Asian nations, she says, South Asian nations are preferred because they have been maintaining the culture of crafts. “The West and the highly industrialised nations have simply lost it. From Africa to Japan, craft is still alive. We are probably the richest in crafts. But we want mutual progression.”
Giving an example, she says: “Take batik for example, it could have gone from here to there or vice versa. It is so old and the relationship between Indonesia and India is so old that it does not matter from where it is. It is part of our common heritage. Similarly there are skills which are more developed. So it takes invigoration; one’s own repertoire and long standing people-to-people relationship.”
