CGCS 2005 is the Vigor of Caribbean Art & Craft
Ibrahim Abdullah
Market Development Officer (MDO) responsible for the
Dominica Manufacturing Sector. Providing: in-plant technical assistance,
Business and Marketing Plan preparation, and, Product Development and Market
Intelligence Support.(View all articles by Ibrahim Abdullah)
We need to remember True, Pure and Cultured Caribbean Craft
The Caribbean needs to be reminded, re-cultured and re-introduced to the entire craft heritage. It's this heritage that brings millions of spectators to the region who care very little about product and more about the un-chartered experience of the Caribbean frontier. The re-discovery of this new world (old to us, new to them) means every visitor is a relic hunter, who is disappointed in finding the exact same souvenir/craft item their cousin bought in Chinatown $5 cheaper. Centering Craft as a entrepreneurial enterprise and the perfect décor, fashion and "in thing" accessory among youth is an almost impossible task, especially when bombarded with episodes of a "bling bling" culture.
Can Caribbean craft keep it’s identity? The onslaught of globalisation will fashion unique cultural parchments into generic items (of very similar look, taste and feel) in efforts to meet competitive forces that drive perception of superior and inferior goods. The tasks ahead are; to illuminate the Craft Artisan, educate a brand fuelled market, and be radically creative with tomorrow’s art.
A visitor’s attraction and extended stay at the Dominica KALINAGO Booth is not as a result of uniquely hand crafted traditional Carib baskets. That surprise and excitement was extinguished since Dominica's first year of participation in the CGCS. The glue to the Carib Booth is the cultural atmosphere of experiences (that can be heard and seen. And taking it a step further with full participative activities; dancing & singing, weaving and drum beating). Indeed, after such a display one's interest in Carib Craft is immediately heightened.
If our indigenous Artisans expect to evoke a certain thrill about their craft then they need to ACCESSORIZE their Craft. How do you accessorize a Carib Basket? You make it sexy, you make it vogue, and you make it be the most talked about item in the industry. Getting a Carib Basket on the fashion runways of Milan, Paris and New York is not so impossible anymore. A "Creative Quest", rethinking and experimenting with existing techniques and new materials; Carib Baskets woven from tradition and fused with polymers, leather, fabrics, fur, wood and precious metal is the only guarantee for a competitive and future sustainable strategy. Dominican, indigenous hand crafted, all natural, functional, fashion baskets should be the Gucci stamped bags right here at home. However, before portions of culture are forgotten because they've refused to evolve and reshape the cultural landscape, we must persist relentlessly to adapt craft efforts to be fashionable.
For Caribbean Export (CGCS organisers), the vision of CGCS needs to transcend its buy and sell limitations if it is to appeal successfully to an island’s public (especially youth). Dutch, French, Spanish and English craft is about experiences, the storyline and not a cold fictitious booth rammed with products. The Carib presence and this year's impressive Curaçao presence emphasises, the activity and cultural sampling dimension that is taken for granted. Certainly the future of CGCS is being able to bring a cultural show to any part of the world, and allow buyer and public to indulge their senses and all their monies.
The Caribbean needs to be reminded, re-cultured and re-introduced to the entire craft heritage. It's this heritage that brings millions of spectators to the region who care very little about product and more about the un-chartered experience of the Caribbean frontier. The re-discovery of this new world (old to us, new to them) means every visitor is a relic hunter, who is disappointed in finding the exact same souvenir/craft item their cousin bought in Chinatown $5 cheaper. Centering Craft as a entrepreneurial enterprise and the perfect décor, fashion and "in thing" accessory among youth is an almost impossible task, especially when bombarded with episodes of a "bling bling" culture.
Can Caribbean craft keep it’s identity? The onslaught of globalisation will fashion unique cultural parchments into generic items (of very similar look, taste and feel) in efforts to meet competitive forces that drive perception of superior and inferior goods. The tasks ahead are; to illuminate the Craft Artisan, educate a brand fuelled market, and be radically creative with tomorrow’s art.
A visitor’s attraction and extended stay at the Dominica KALINAGO Booth is not as a result of uniquely hand crafted traditional Carib baskets. That surprise and excitement was extinguished since Dominica's first year of participation in the CGCS. The glue to the Carib Booth is the cultural atmosphere of experiences (that can be heard and seen. And taking it a step further with full participative activities; dancing & singing, weaving and drum beating). Indeed, after such a display one's interest in Carib Craft is immediately heightened.
If our indigenous Artisans expect to evoke a certain thrill about their craft then they need to ACCESSORIZE their Craft. How do you accessorize a Carib Basket? You make it sexy, you make it vogue, and you make it be the most talked about item in the industry. Getting a Carib Basket on the fashion runways of Milan, Paris and New York is not so impossible anymore. A "Creative Quest", rethinking and experimenting with existing techniques and new materials; Carib Baskets woven from tradition and fused with polymers, leather, fabrics, fur, wood and precious metal is the only guarantee for a competitive and future sustainable strategy. Dominican, indigenous hand crafted, all natural, functional, fashion baskets should be the Gucci stamped bags right here at home. However, before portions of culture are forgotten because they've refused to evolve and reshape the cultural landscape, we must persist relentlessly to adapt craft efforts to be fashionable.
For Caribbean Export (CGCS organisers), the vision of CGCS needs to transcend its buy and sell limitations if it is to appeal successfully to an island’s public (especially youth). Dutch, French, Spanish and English craft is about experiences, the storyline and not a cold fictitious booth rammed with products. The Carib presence and this year's impressive Curaçao presence emphasises, the activity and cultural sampling dimension that is taken for granted. Certainly the future of CGCS is being able to bring a cultural show to any part of the world, and allow buyer and public to indulge their senses and all their monies.
