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First International Congress on Traditional Crafts and Tourism
It clearly emerged from the First Congress on Promotion of Handicrafts and Tourism that handicrafts in the Islamic world urge a new approach for revival, conservation, marketing, innovation and financing
Handicrafts embody the essence of a people’s culture, history, faith and living experiences. Imagination lends expression to craftsmen’s feelings through tangible medium. Etched in broad relief over stone, wood, fabric, metal, paper, plastic or glass, the artifacts do not merely conserve the cultural heritage, but also enrich and adapt this heritage for needs of the society where they are practised. They thus, blend the aesthetics and utility and thereby constitute a vehicle for cultural communication whose importance has been well recognised by the emerging nation-states who are keen to preserve their past in pristine form and raise the national pride on its foundations.
It was perhaps in this context that Saudi Arabia’s Supreme Commission for Tourism conceived the idea of holding the 7-day International Congress on Tourism and Handicrafts in Riyadh from November 7, 2006. And no venue could have catered to the twin objectives of the Congress more suitably than the King Abdul Aziz Historical Center in the heart of Riyadh. The tastefully laid out complex hummed and buzzed with activity for a whole week with an international conglomeration of artists and artisans, researchers and academicians and craftsmen and mediamen, discussing the state of crafts in the Islamic world. Even as fountains oozed foamy jets and streams gurgled with symphony of life, the congregants shaped out a strategy to pull the crafts out of the closets and mantlepiece.
If traditional crafts carry the essence of culture, tourism brings about a dialogue among cultures by putting the people into physical contact and through visual experience. The Congress had therefore laid out a well defined agenda to seek combination of two objectives and chart a course for the Islamic community world over. The Riyadh Statement issued at the conclusion of the conclave therefore called for revival of the handicrafts sector all through the Islamic world and directed the Islamic nations to confer due recognition and honour on artisans who carry the tradition forward. Setting the tone for the conclave, Sultan bin Salman Abdul Aziz, secretary general, Supreme Commission for Tourism called for redoubled efforts to document the crafts, master pieces of handicrafts, raw material, designs and forms, he stressed the need for cooperation and coordination among Islamic nations to exchange the know-how and the underlying aesthetics that inform and inspire the imagination of the Muslim artisans. He outlined the policy of the Kingdom in opening the peninsula for the world tourists to enable them to view the country’s rich Islamic heritage and traditions. He said the new efforts were directed towards opening communication between societies. He hoped that the new measures will provide incentives to the craftspersons to ensure continuous creativity. Naif bin Abdul Aziz, the interior minister of the Kingdom opened the exhibition of the crafts at the King Abdul Aziz Museum.
Dr Nazeih Taalib Maarouf, chairman of the Istanbul based OIC –International Research Centre for History, Art and Culture (IRCICA) and Dr. Ekmeleddin Ihsanoglue, secretary general of the Organisation of Islamic Conference outlined the significance of the handicrafts in promoting understanding between cultures and the people. They endorsed the need for organising competitive programmes for young artisans in order to motivate innovation and creativity. They also emphasized the need for setting up specialized bodies for exploring new global marketing opportunities and for creating Tourist-Artisan villages.
Dr. Abdullah Al-Ghabban, coordinator for the International Congress introduced the traditional handicrafts of Saudi Arabia. His valuable paper explained in detail the rich embroidery, straw, clay and ceramic artistry of Saudi Arabia and the intricate carpentry that embellishes the traditional constructions in the Kingdom. Dr. Abdullah Al-Ghazi lamented that Globalisation is destroying the heritage, arts and handicrafts. He said Multinational companies are planning the economy and determine the consumer needs and plan distribution. He said Globalisation poses a threat to the artists, artisans and crafts and also that the transnational media is clearly linked to the MNCs and implements its agenda of imposing mechanized products on the populace of diverse regions of the world. He deplored the US policy of imposing its own culture and values on the world.
Dr. Ghazi’s assertions were further reinforced by Dr. Khaled Azab, deputy director at the Egypt’s newly established Bibliotheca Alexandria library. He informed that China is now selling three million Ramadan lanterns in Egypt annually and has rendered thousands of Egyptian metal smiths out of work. Azab also pointed out that internet has enabled unscrupulous people to plagiarise the master pieces of arts and craft and outlined the need for digitally documenting the works of craftspersons. He said the day will not be far when craftspersons will have to obtain intellectual property rights for their work. He suggested establishing an international centre for Islamic arts in Makkah.
Dr. Mohammad Sweiki, secretary general of the Rabat based ISESCO warned against reducing Islamic handicrafts to souveniers of low quality for enticing the gullible tourists. He said tourism had its own seamy underside to it and could easily jeopardize the creativity of the craftspersons.
Dr. Akira Ueda, assistant professor of design and architecture at the University of Chiba in Japan presented two models of crafts promotion in Japan where imaginary planning ensured sustainable livelihood for community of artisans engaged in wickerwork.
Ms. Jasleen Dhamija , an expert in Islamic handicrafts in Delhi urged the Government of Saudi Arabia to initiate measures to preserve the Islamic crafts all over the world. She pointed out that Islamic textiles like himroo of Aurangabad or pashmina shawls of Kashmir were influenced by universal symbols. She said the mud architecture of Mali or the magnificent monuments of Bukhara and Samarqand in Uzbekistan were repositories of skills and crafts of Islamic people and their diverse national identity. She desired that the crafts be promoted as markers of distinct identity.
Some of the more imaginative suggestions emerged from delegates from Tunisia. Prof. Jouaida Gustli pointed out that tourism and handicrafts constitute important sectors of Tunisian economy. She said two sectors provide 11 percent revenue to the national gross domestic product while employing 600,000 people (Tunisia’s population of six million). She said the Tunisian government is planning a handicrafts university and a national centre for creativity and innovation. She informed the delegates that the government has envisaged a law to stop imitation of products of craftspersons. She also informed the delegates that Tunisian Airlines makes its obligatory for airhostesses to wear items produced by the Tunisian craftspersons.
Prof. Omar Abdullah quoted a survey wherein it was found that 20 per cent of tourists include purchasing of cultural products when they visit places of interest, while 60 per cent include sites of cultural value. He urged that tourism and handicrafts should be integral elements in educational curriculum as they motivate people to move and seek knowledge. He also referred to UNESCO’s categorization of Fez city as a world heritage city which helped in incorporating architects, artists, artisans, writers, hoteliers, tour operators and geographers in drawing up an integrated plan for preservation of the Fez city.
Dr. Sitare Turan Bakir, professor of fine arts in the Mimar Sinan Fine Arts University in Istanbul portrayed the revival of traditional titles and ceramics in Turkey. She said, except one traditional style, almost all kinds of tiles found in history are being produced in studio and ateliers of Iznik and Kutahya cities of Turkey. She however regretted that import of cheap products hinders the fair rewarding of creative efforts.
Elvira Bairam Ali, a repres-entative of the Crimean Tartars community graphically described the painful history of Soviet Russian oppression against the community. She said mass deportation of Tartars to Siberia in 1944 totally undermined their cultural existence. The tartars were uprooted from the land of their ancestors, their libraries burnt, their mosques and schools demolished and they were prohibited from returning to their lands.
Asya Shiraliyeva, scholar of the Azerbaijan Carpets and Applied Arts from the Azerbaijan State Museum presented a paper on rich symbolism evident from Islamic crafts in the Central Asian State. She also dwelt with mystical relationships between metals and celestial bodies i.e., gold-sun, silver-Moon, brass-Venus, tin-Jupiter, lead-Saturn, iron-Mars, mercury-Mercury.
This author established a pattern between centres of Muslim artisanship and architectural landmarks in India and presented a plan for conjoining tourism and handicrafts promotion. The paper highlighted the fact that shift in clientele has compelled the Muslim artists to mould, carve and draw motifs not compatible with their faith or ethos. It was suggested that a train linking places of Muslim tourist interest such as Lucknow, Delhi, Hyderabad, Agra, Aurangabad and Ajmer and Bhopal on the lines of ‘Palace on Wheels’ being run by the Rajasthan Tourism Board, would also prove an incentive for Muslim artisans.
Prof. Sabah Husain from the Lahore College of Fine Arts spoke about the latest trends in documenting handicrafts and education. Ms. Sapara, director of Embroidery in the National Council of Arts in Kyrgyztan spoke about the stitching and embroidery traditions in the CIS state. Tahir Habibov, presented an assessment of issues in crafts development in Tajikistan. Prof. Othman Yatim of the University of Malaysia presented a paper on the tourism promotion in his country. Dr. Muhammad bin Abdullah Idrees of Hajj Research Centre in Makkah spoke about crafts practised traditionally in Makkah region. Dr. Lailah al-Bassam, teacher at the Riyadh Government Women’s College outlined the skills involved in beads work in Saudi Arabia. Dr. Muhammad Khairuddin Rifayi from Damascus urged preservation of Islamic monuments as they guarantee continuity of several crafts associated with buildings and constructions.
Joseph Kreidi, programme officer for Cultural Sector for UNESCO’s Beirut office dispelled the notion that tourism contributes to degeneration of crafts. He pointed out that the ‘Unesco Seal of Excellence’ has been established to support small craft businesses and creative craftsmen. He said this has been developed not as an award for outstanding piece, but as a ‘stamp of approval’.
It clearly emerged from the First Congress on Promotion of Handicrafts and Tourism that handicrafts in the Islamic world urge a new approach for revival, conservation, marketing, innovation and financing.
Often the reference to religion, tradition, heritage and archae-ology has a throw-back impact. Advocates of conservation and authenticity invoke nostalgia and sanctity. But few individuals ever realise that change is inevitable. Resistance to change renders the products and processes irrelevant. Handicrafts are not immune to this phenomenon. After all, craft products have always been made primarily for use: pots for cooking, tables to eat on, rugs to walk on and blankets to sleep. One feels like probing as to why compass-studded prayer rugs from China are flooding markets in holy places in Saudi Arabia or coffee mugs have replaced marble plaques for souvenirs in curio shops of Beirut beaches. The answer lies essentially in changes that have taken place in modes, tastes and styles in people’s lives. What one would like to be reminded is that tradition today is a good innovation of yesterday.
(The writer can be reached at maqbool_siraj@rediffmail.com)
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