دن چار چوگان میں کھیل ، کھڑی ویکھاں
کون جِتے بازی کون ہارے
گھوڑا کون کا چاک چالاک چالے
ویکھاں ہاتھ ، ہمت کر ، کون ڈارے
اس جِیو پر بازیاں آن پڑیں
ویکھاں گو ئے میدان میں کون ہارے
ہائے ہائے جہان پکارتا ہے
سمجھ کھیل بازی شاہ حسین پیارے
(شاہ حسین)
My project, Poetics of Clay, Colours and C(h)ords revolves around photographing the consumer network – the relations between toy-users and toys and how values of play have been changed by the transformation of toys. This project examines the ways in which the toys and the environment, culture and social life are inter-connected – something that is lost with the arrival and growing popularity of imported, digital corporate toys and electronic games. The project draws our attention to the ways in which life, living and the environment work together as initially toys were made of organic material (clay, paper, cardboard, bamboo sticks, strings, and rubber bands) that is beautifully recycled by these creative and inventive craftspeople for making toys as compared to modern toys made by plastic-based material.
Finally, I examine how handcrafts toy-maker communities are struggling in urban settings and what role changing trends have to play as per market demand and the global economy. How self-employed traditional craftsmanship is struggling in the face of a more advanced global industry.
Hand-making toys is a visual art, this project intends to dive into the visual language of toy-making, by uncovering individual symbolisms, motivations, and their interconnections in the toymaker’s and life on both a personal and professional level.
I was drawn to this project because hand-made toys have started vanishing from our neighbourhood as they used to bring festivity to children. With the prevalent globalisation and massive technological advancement in recent years many local indigenous crafts have been extinct i.e., we no more witness street jugglers and puppeteers on the streets and many are endangered. If we pay attention, all activities were also linked to the rich culture of celebrating carnivals (social celebrations) in subcontinent the tradition is also disappearing lately. I felt a dire need to document this artistic inheritance that is on the verge of extinction as it has a rich sociocultural heritage of people who have been involved in this craft since centuries. The circumstances are becoming more challenging for folk toy-makers and they have to supplement their incomes by involving in other trades. They are being compelled by the economic struggle to leave this ancestral heritage behind in the form of rich tradition and to work in factories. Folk toys have such a rich cultural and historical value that the toys can be traced back to Indus Valley Civilisation.
Primarily, I am trying to document these folk toys and their making communities around the city, the toy-users' childhood experience with these toys and folk songs and stories around the toys. It is essential to pay attention as not only are these folk toys on the verge of disappearance but a rich inheritance of a community’s creativity and certain ways of their life and craftsmanship are seriously under threat.
