Meerut Post 2: Meerut Ki kainchiyan! (Scissors)

If you haven’t used a scissor made in Meerut, you have missed out on an excellent cutting experience my friend.

Its only when I moved out of Meerut for my Graduation, that I learnt of Meerut’s Scissors.

I gifted one to a friend who used it for preparing garments, and he was pleasantly surprised with the tool’s efficiency. That made me wonder, how much I took our amazing Kainchis for granted.
In fact my mother had been gifted a large beautiful scissor by her patient, with her name tastefully etched on it, it has been our companion for years. They are the most long lasting scissors ever.

The smoothness of their functioning is literally orgasmic. Trust me, I have been in Design Schools, and have used many scissors, but the ones from Meerut, you can never forget the exhilaration of that perfect sharpness, that deft movement, that sound (khich, khach) which is almost music to my ears.

Just in case, you ain’t aware, Meerut’s Scissors may get Geographical Indication Mark : http://articles.timesofindia.indiatimes.com/2013-01-17/lucknow/36393076_1_geographical-indication-scissors-gi-certification

To express my gratitude and love for the craftsmen and their wonderful creation, scissors:

 

kainchiyan meerut ki _poornima sardana

kainchiyan meerut ki _poornima sardana

 

Kainchiyan meerut Ki_ night_ aise koolness ho gayi_ poornima sardana

Kainchiyan meerut Ki_ night_ aise koolness ho gayi_ poornima sardana

 

Ok yes, i took some liberty and let aesthetics go for a toss 😉

 

Shall be posting more on this, pretty soon!

 

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Meerut: Post 1: Bakri Mohalla

I was born and brought up in Meerut. But to be really honest, I don’t think I ever lived as a part of Meerut, I never tried to connect with my city, never tried to learn of its history or be a part of its future.

I feel that this apathy that many like me live with is also one of the reasons that the place deteriorates and its stories are lost unheard.

I now have decided to slowly begin to listen to those stories, to document them. For what, you ask.

Well, for nostalgia a bit, but more so for reclaiming the space, reclaiming my role in its larger narrative and for others who have lived as disconnected and sans  sense of belonging as I did.

I begin with nostalgia though.

We used to go to study in a tuition centre called Auora Classes. Vinod Sir is one of the most interesting and passionate Physics teachers you would ever come across. Now this centre was in a locality known as the Bakri Mohalla, and the one question I guess each one of us must have joked about, is , Yeh bakriyan buffalos kaise ban gayin? So the place was a hub for buffalos and scooties belonging to students. What I wonder now is why did we never try to find out what got this place its name?

So thats my next agenda.

In the meantime enjoy this quick piece made in the honour of Bakri Mohalla!

Bakri Mohalla: artwork: Poornima Sardana

Bakri Mohalla: artwork: Poornima Sardana

In case you are confused:

Bakri- Goat

Bhains- Buffalo

These are buffalos made here because the colony though named after goats was visually a buffalo haven

Counter Trouble- Create Art

So what do you do when you feel that the world has come to an end?

What do you do when you delve in self-pity and misery, as if there is no tomorrow?

You remind yourself of the many stories around you, the wide variety of emotions, facts and fiction which surround you, there is much more in the world beyond you and its great!

To counter troublesome thoughts- create art

To feel good- create art

To share joy- create art

SO here’s one for stories, stories we all are, stories we live with.

poornima sardana story poster

Comics Love- experience with the World Comics Organization

I love Comics, I think everyone should. I love the medium and wish to experiment with its form and functionality.

Having graduated from my fellowship in Science and Liberal Arts, I had some time before I started with quantified and mass acknowledged productivity –  “job”.

So I decided to volunteer with the World Comics Organization in the month of June. If you are hunting for work to silence inquisitive aunts and (very) concerned friends, I am sorry, this probably isn’t the genre for you, however, if you are wanting to experience sincere efforts at giving voice to the subaltern , this probably is a space you would appreciate.

I do not think I would do much justice at introducing World Comics for there is much depth to the organization and work, perhaps you could go through their website and engage with what they mean by Grassroots Comics and Comics Journalism.

http://www.worldcomicsindia.com/grassrootcomics.htm

To me what matters the most, is that they have managed to take comics to people in their everyday lives, and have enabled them to tell their own stories, in their own words and images.

Sharad Sharma, the founder, has maintained an archive of all these narratives, which I truly feel are a brilliant account of narratives ignored in prevailing media and stereotypes. Moreover, I sincerely feel that this methodology reduces a researcher’s bias and could definitely be an innovative methodology to be used in ethnographic study. In fact, in my upcoming projects, which require ethnographic study and community engagement, I intend to conduct workshops with the communities I work with, to create comics wallpapers and to create a forum for sharing stories, perspectives and history.

Some of the important points that stuck to me through my interaction with the organization:

1. It is actually great fun to work in collaboration towards a common goal. The task of creating 28 panels out of two comic books for an upcoming exhibition, involved four people, two who had created the original work, and two who re-used and redesigned panels to be exhibited. beginning with a simple layout, we quickly developed an understanding of each other’s styles and managed to pull off a harmonious set. Devendra and I have a rough style which was given that subtle finality with Sharad Sharma’s eye for details, something I am still only attempting at achieving on my own. It was brilliant to see how after the panels were designed he went through those and introduced finesse with a blurb here or a patch of color there, it was very interesting to see hsi play with text as image.

I often wonder how did they manage to run an entire foundation through only volunteers, I think the most critical aspect is to respect every person and every task, be it making Chai or photo-copying or training people in making comics. Also, to acknowledge every person’s opinion and agency, is not just humbling but also encourages healthy dialogue and willingness to co-operate.

2. At times when lots is to be done, rather than thinking too much, dive deep into it, and just keep doing bit-by-bit. I know it sounds so obvious, but generally that is exactly what we don’t do. At World Comics there is too much positivity and constant work being done, no one stops, everyone is on to something and happily so. It inspires you to just get down to the task (at least as long as you are inside the studio). I think, the fact that Sharad Sir sat on my head, and sort of politely disciplined me into coming up immediately with a simple, neat layout was a great help later. I have faced this paralysis of ideation many-a-times, it is good to have a basic vision, but then explore as you are into it.

3. It is important to understand the purpose of the exhibit, what is to be conveyed, so that the content could be aligned. It is almost a curatorial procedure, ha! you mocking us? go see the number of illustrations and text, it can be tough to choose from such a huge pool of data.  It is very important to be strict when filtering it. Everything looks great, but the idea is to only put as much is enough and appropriate to summarise the larger message in the books. Of course the audience plays an important role and has to be kept in mind while doing so. We did not have much time left for editing though, and that is a learning for next time, particularly for text, it could have been much more simplified.

4. Umm, for all my faux dislike for MAC, I think I had fun using it :). Also, have overcome an inexplicable dislike for photoshop.

5. We played with colors and I think it worked well. So the idea was to start and end with violet and have continuity in panels through the color transition. A coincidence was that green came during the panels clarifying myths on Islam, so then we managed to place RSS based panels in oranges which though was stereotypical we still greedily delved in it in order to assist the audience in relating to the context better. It was interesting how these colors could break the monotony  and assist movement of eye, while the layout and transition kept a uniformity. The titles were kept in contrast with the background, while the bubbles of successive panels had colors belonging to the family of its preceding panel.

6. I think, the organization being quite democratic and liberal, I felt confident in the choices I made, and also learnt quite a lot from feedback, slight shifting of image, a little variation in the tint, adding some data in empty space, playing with layers, creating every panel as a composite whole, it was good fun to see the project complete and exhibited.

7. Great printing can be done at small press, some hidden gems in Delhi.

8. A great cartoon with black gel pen could be given various manifestations later, hence do not disregard a simple process of creation.

9. Last but not the least, to work with time limit, to keep it simple.

Some photographs of the exhibit displayed at India International Centre (IIC) Annexe, New Delhi (10-14 July, 2013):

ExhibitWorldComicsIIC

ExhibitWorldComicsIIC

ExhibitWorldComicsIIC2

ExhibitWorldComicsIIC2

photograph courtsey poornimasardana2

ExhibitWorldComicsIIC3

Exhibition by :World Comics India

Books by :Ram Puniyani, Sharad Sharma