DAY 12: TUESDAY 27 NOVEMBER

Reiterating the degrees of complexity that can be achieved in the DESIGN SOLUTIONS you will select: from
1. the straight-forward SHOWCASING of an OBJECT as a precious/special (ART) OBJECT — in the sublime isolation of its formal properties [as is often done in museums around the world], to
2. more unconventional and imaginative CURATORIAL STRATEGIES.

Neeti's proposal presents the advantage of showing both PROCESS and OBJECT; integrating documentation in a dynamic way.

When floated around supper, last night, the project attracted interest from a potential sponsor...


CRITICAL REVIEW and DISCUSSION of DRAFT PROPOSALS.

THE PATAN MUSEUM

The PATAN MUSEUM (Katmandhu) offers a modern example of contemporary MUSEUM DESIGN within the context of a historic monument: a palace.
The challenge, here, was to harmonize contemporary display techniques with the historic fabric of the palace at a high international standard.
The displays are varied and tend to blend unobtrusively in the interior.
On the example below, minimalist showcases design focus visitors'attention on one object at a time; inducing a contemplative mode; unhindered by information; fusing the aesthetic with the spiritual:





Elsewhere, in the palace, some of the showcases embedded in the walls incorporate architectural elements (arches) which attempt to present the objects in a less neutral space, but detract somewhat in their emphatic visibility. The standing showcases represent an in-between position; which presents the objects as precious objects and works of art offered to our delectation.

DAY 11 (Monday)

REVIEW OF PRELIMINARY DESIGNS FOR THE DISPLAY OF OBJECTS
+ DISCUSSION OF CRITERIA UPON WHICH THE PROJECT WILL BE ASSESSED.
+ FURTHER GUIDELINES FOR POSTER AND DISPLAY.

Case Study: Regarding the bamboo fishing basket, a diagram showing how the bamboo was shaped into a cage is essential to illustrate the 'cultural'/artistic/design TRANSFORMATION of the raw material into a FUNCTIONAL ARTEFACT.
Should the diagram be placed next to the object?
What additional REPRESENTATION would be relevant: a photo of the object ready to use or in action; a film illustrating/documenting its use?
Anything else?
In terms of the SCENOGRAPHY of the museum display, we will need to consider the effect of all alternatives, and decide on the most APPROPRIATE: i.e. the most effective in enhancing our perception and appreciation of the OBJECT as a cultural artefact.
Another consideration is whether other objects (not just made of bamboo, but of other material) displaying similar properties of simplicity and ingenuity — qualifying them for a place in the 'Perfect Acts of Design' category — should be associated with the fishing basket, and HOW...
One disadvantage of dealing with Objects (as opposed to representation such as MultiMedia) in display situation is that the arrangement is static. It is important, therefore, to ensure that the display is sufficiently dynamic to go beyond merely illustrating itself, and open up other dimensions for thinking and interpretation.
LET'S CONSIDER ALTERNATIVES: The poster can show
1. a high profile artefact or 'MASTERPIECE') (a rather obvious, one-dimensional/static approach)
2. a combination of objects to show the range of objects exhibited, and get a sense of the museum collection.
But this is limited in so far as it focuses on WHAT is in the Museum, but not on the HOW it is presented.
3. For my poster I would like to give an indication of the WHAT and the HOW, without being too explicit whilst retaining a sense of mystery/ambiguity; to induce viewers of the poster to want to go to the museum.
A more sophisticated artistic strategy (that I have been developing in my 'Histoires...' series [see: ] is what will enable me to go beyond the obvious and achieve my aims.
I had been working on the name separately, in conjunction with its VISUALISATION as part of a visual IDENTITY program.
In the context of the POSTER, however, it seems that the more CONTEMPORARY version of the NAME — 'TRADITIONAL ARTS, KERALA' — inspired by the recent change of name from MOMA (Museum of Modern Art') to 'Modern Art, Oxford', may not be explicit enough.
On the stark minimalism of the poster, the word 'Museum' remove all ambiguity; considerably reducing the risk of interprepreting the posetr as advertising a temporary exhibition or 'Mattancherry', the touristic location, where antique, gift and spice shops, alongside the Synagogue, are key tourist attractions
For the masks, after reading the essays from the Geneva team and other museologists, I feel more confident to apply my own free approach in 'Museo-graphies' to the display of the masks; blending tribal, Christian, Hindu, etc. in a collective 'jamming session', orchestrated according to different principles. The idea is not to treat the objects as mere pretexts for documentation, nor to focus on their quality alone (as 'art objects' for aesthetic delectation in the home), but as all this and MORE, to enable us to see them as part of a collective human cultural legacy.

DAY 10 (Saturday am)

GM available for TUTORIALS

DAY 9 (FRIDAY)

TUTORIALS
+
CLASS:
LEARNING TO POSE PROBLEMS IN FUNCTIONAL TERMS; CONSIDERING ALTERNATIVE SOLUTIONS/PERMUTATIONS AND THEIR RESPECTIVE EFFECTS AS A WAY TO DEVISE MORE EFFECTIVE DESIGN SOLUTIONS (MORE EFFECTIVE THAN 'DREAMING UP' A SOLUTION INTUITIVELY).

Case Study: BAMBOO FISHING BASKET
The discussion, here, considers what (and how many) elements should be combined in the museum DISPLAY and according to which functional hierarchy they should be presented and apprehended.
Instead of assuming that the physical object (bamboo) would necessarily be the focus of the exhibit, I consider the implications of focusing on the printed text of the song about the ubiquitous bamboo, which we encounter at all stages of our lives. This would involve an appropriate typographic treatment. IT would also enable me to connect with and interpret other objects made of the same material.
A recording of the performance would usefully complement the text; bringing it to (sonic) life [printing has the effect of carrying the meaning of words, but not their sonic materiality and what it relays].
We also consider whether more object made of bamboo should form part of the display (whether as objects or as images).

PROJECT ASSESSMENT CRITERIA

The project assessment will be based on the following criteria:

1. RESOURCEFULNESS:
Your capacity to source and acquire information which is not immediately available/accessible, and of the right level of pertinence/relevance (beyond tourist clichés and stereotypes); i.e. which require specific research methodology.
2. CREATIVE THINKING:
A) Your capacity to FORMULATE PROBLEMS in sufficiently complex terms which correspond to (and do justice) to the complexity of the realities on the ground , and
B) Your capacity to develop DESIGN SOLUTIONS which deal with the problems at hand, according to criteria of appropriateness.
3. SYNTHESIS: The capacity to relate your different design solutions to the overall project objectives and its respective requirements: from DISPLAY/Scenography, to DOCUMENTATION and PUBLICATION (Captions, Poster, Catalogue, flyers, etc.)
4. CRITICAL EVALUATION:
Your capacity to critically review your work on an on-going basis (accepting and incorporating tutor criticism), with reference to specific criteria pertaining to the problems at hands, and make appropriate re-adjustments in your design solutions which take you closer to fulfill the Museum objectives.

DAY 7: @ Janapada Folk Museum

VISIT TO JANAPADA LOKA FOLK MUSEUM: to evaluate the ways collections of folk art are presented in a museum context; with a view to considering alternative methods, along the line of the Museum Project.
Treat this as an opportunity to develop a set of museographic PROPOSITIONS along the lines of the Museum project, and thus to assume the role of design consultant in the field of Museography.

An unexpected musical event enhances the experience; bringing it to life:



Relegated in a store room: an echo of the song about bamboo;
a serious contender for the 'Perfect Acts of Design' Museum...

DAY 6

We continue the review of work in the form of individual tutorials throughout the day; to ensure that the exhibit you have chosen is sufficiently well documented and understood, to enable you to start designing its presentation on several levels.
Suggestion:
Consider how you may structure your material in the different formats, taking into account the specificity of these different forms of communication:
1. display
2. documentation
3. Poster/flyer
4. Catalogue

DAY 5

Following a brief discussion and clarification of some concepts regarding METHODOLOGY, in particular the importance of remaining open to learning from accidents (the 'gift of chance'), we spend the rest of the day reviewing the material collected and the work achieved so far, in the form of individual tutorials.
Reference to the display of tribal objects in the gallery above the Art College enables us to illustrate how simplicity of means and the application of dynamic montage and sensitive attention to the interaction between objects (intervals, rythm, correlations, etc.) can enhance the display of artefacts.
Suggestion: experiment with museum layout in graphic form (juxtappositions, sequencing...).
I make arrangements to visit the JANAPADA LOKA FOLK MUSEUM, on Mysore Road (Ramnagaram?), where we will go with Mani, from Art History, on Thursday. Departure: 9.25am.

DAY 4: MONDAY

On Sunday at Blossom's, I come across a book entitled 'Performance Tradition in India' [National Book Trust, Dehli, 2001]about ritual dance performance in India, which deals with various aspects of: dance, puppetry, martial art and theatre in a concise but serious manner. This should provide a sound overview of the field we are investigating.
The difficulty in focusing on the puppet sequence in the film longer than a few minutes, by some of you, may be explained by the frustration of different expectations.
Unlike in conventional film narrative and popular form of TV coverage, these performances invite us to leave human time to enter the time of myth. This shift is mediated by the text which re-presents the myth for its re-enactment through the ritual of the performance.
In the afternoon we watch a longer film, 'GODS NEVER DIE' (2004), by the Geneva team. Rather than trying to explain what we are looking at the film enables us to WITNESS the events depicted: with no voice-over, but LONG TAKES in which sequences from different PERFORMANCES of TIRAYATTAM (the 'Dance of Splendour') are intercut with sequences from everyday life.
The film ends with a short paragraph of text which, most economically and most effectively, places the diverse elements in the film into context. Everything seems to fall into place; but without closure.

DAY THREE

We view new material collected by students; then adjust the BRIEF in consequence. Our objective is to go beyond the first layer of superficial information destined to TOURISTS.
This level of specialisation is scattered on various web sites, in books, articles; which require breaking through this layer of tourist clichés.
Our objective is to gather enough information to put the objects in context; secondly to put ourselves in a position to INTERPRET; and, then, to devise ways of displaying the objects (CURATION-SCENOGRAPHY).

Further discussion of concepts: TRADITION, GLOBALIZATION, COMODITY, CONSUMERISM, COLONIALISM...
to set the project in a global CONTEXT.
We look as some statements by curators and museum staff about museums of ethnography in India.

Dilip K. Ray:'A museum must be a place of immense delight and loveliness; where every thing is a joy to the eyes, and where instruction is imparted by the sheer beauty and intelligence of arrangement and display'(An Appraisal..., 2005:90).

Reminder: In its presentation of OBJECTS, the Museum will need to engage visitors at a level which enables these objects to function as CULTURAL ARTEFACTS; not just as AESTHETIC COMMODITIES, but as SIGNS of different WAYS OF LIFE; as a basis for our APPRECIATION, UNDERSTANDINGto and RESPECT.

DAY TWO

'The best way of collecting a cultural artefact for the museum is to collect both the specimen and its associated field data at the same time and from the same place'.
S.R. Sarkar, in: An Appraisal (2005).

The first TASK for us will be to collect sufficient, relevant information about the OBJECT to be displayed in the Museum.
The major OBSTACLE will be the fact that search engines will direct us to TOURIST web sites, which, alongside publications most commonly found in bookshops, will provide the easiest accessible INFORMATION; but SUPERFICIAL and 'CLICHÉ': both in its FORM and CONTENT.

A first film we see about Traditional Arts of Kerala uses an unsubtle hard-sell US voice-over and fast editing technique, which prevents the mind to focus on anything more than for a few seconds. An example of what to avoid at all costs!

By contrast, The Time of Puppets), a film about glove puppets made by/for the MUSEUM OF ETHNOGRAPHY in Geneva, enables us to WITNESS the ritual dance drama of PAVAKATHAKALI against the background of everyday VILLAGE life.

Reference
Sketches of Kerala, by Laurent Aubert, Ravi Gopalan Nair, Damian Plandolit, Patricia Plattner, Jonathan Watts,DVD, Light Night Productions (www.lightnight.ch).

PROJECT STARTS

We start by redefining the concept of 'DESIGN' as an INTERVENTION in the realm of 'SIGNS'.
We rewrite the word typographically to emphasize this SEMIOLOGICAL dimension of Design.

DESIGN = DE_SIGN.

The concept of 'TOTAL DESIGN' places the DESIGNER in an all-powerful position of AUTHOR; i.e. as generator of MEANINGS AND CONTENT; not just as a packager of information for a client, along specified lines.

The project will focus on setting up a new museum of traditional arts for Kerala, and will involve working simultaneously on several levels:

DISPLAY of the OBJECTS (SCENOGRAPHY), SIGNAGE, INFORMATION PANNELS/CAPTIONS, MEDIA ANIMATION/INTERPRETATION, PUBLICITY (POSTERS, CARDS, ETC.), CATALOGUE...

We then outline the specific CONTEXT: a privately funded museum, by an Antique dealer proud of his native Kerala and keen to promote Kerala CULTURE to local, national and international AUDIENCES.

Readings
Lok Nath Soni (ed.), An Appraisal of Anthropological Perspective in Ethnographic Museums of India, Anthropological Survey of India, Ministry of Culture, Kolkata, 2005.
(Collection of essays, by Indian authors, about problems associated with setting up ETHNOGRAPHIC MUSEUMS in India).