>[!NOTE]+ Meta Author:: [[Joseph Ndione]] Reference:: https://garlandmag.com/loop/ovop/ Date:: [[2021-02-17]] Tags:: #warp/talk #Senegal #Japan WeftLinks:: [[Reinventing the Wheel]] [[One Village One Product]] ### Summary Salutation from [[Linda McIntosh]] in language of #Laos > ສະບາຍດີທຸກໆທ່ານທີ່ນັບຖື. ຂອບໃຈຫຼາຍໆ ໄດ້ມາຮ່ວມການ ແລະ ອົດໜູນສິລະປະຫັດຖະກຳ ຫລື ສິ່ງຂອງທີ່ເຮັດດ້ວຍມື. ສິ່ງ​ຂອງທີ່ເຮັດດ້ວຍມືສາມາດເປັນສິ່ງທີ່ສັກສິດ ແລະ ເປັນສິ່ງທີ່ໃຊ້ໃນຊີວິດປະຈຳວັນໃນສັງຄົມຕ່າງໆໃນທົ່ວໂລກ. > ຄົນທີ່ເຮັດເຄື່ອງຫັດຖະກຳ ມີພອນສະຫວັນແລະຄວນໄດ້ຮັບການເຄົາລົບ ກ່ຽວກັບສີມື ແລະ ສິນລະປະຂອງພວກເຂົາ. ບັນດາທ່ານຮູ້ຄຸນຄ່າຂອງເຄື່ອງຫັດຖະກຳ ແລະ ຂ້າພະເຈົ້າຫວັງວ່າ ພວກເຮົາສາມາດຮ່ວມກັນປົກປັກຮັກສາ ແລະ ສະໜັບສະໜູນເຄື່ອງຫັດຖະກຳນຳກັນ. ໂຊກດີ ແລະ ຢູ່ດີມີແຮງເດີ້, ຂອບໃຈຫຼາຍໆເດີ້ > Sabaidee thuk thuk than thi naptheu. Khop jai lai lai der dai maa huam kan lae uutnuun sinlapa-hattakam leu kheuang thi het duay meu. Singkhong thi het duay meu sa-maat pen sing thi saksit lae pen sing thi sai nai sivit pa-jam van nai sangkhom tang-tang nai thua loke. > Khon thi het kheuang hattakam mee phonsavan lae khuan dai hap kaan khowlope kieo-kap sii-meu lae sinlapa khong phuak khao. Banda than huu khunkha khong hattakam lae kha-pha-jao vang va hao sa-maat huam kan pok pak hak-saa lae sa-nap sa-nuun kheuang hattakam nam kan. Sok dee lae uu dii mii haeng der. Khop jai lai lai der.] > Greetings to all of you (with respect). Thank you very much for joining this presentation and for supporting arts and crafts or handmade items. Handmade items can be sacred or items used in daily life in different societies around the world. > Artisans are skillful and should be respected for their skills and creativity. All of you joining today know the value of crafts, and I hope we can join together to preserve crafts and support their makers. Good luck and may you have strength and prosperity. Thank you very much. Introduction Today we continue to explore the diversity of craft in the wider world. We started the series with Aarti Kawlra, who reflected on the development of an Asian model for craft in the 20th century, which embraced tradition. Then Laila Al-Hamad looked at the Arab model, which gives smell a central place. For Kolokesa and Barbara at Lagi-Maama, the Moana perspective offered a customary framework for craft. And last month, Linda McIntosh reflected on the role of royalty in Laotian craft. Each talk has refreshed our understanding of the role of the handmade in the world. Today we have an African perspective, as presented by Joseph Ndione. Joseph has contributed a couple of stories in Garland, including a beautiful article about the rise and fall of the fake Lion in Senegal. As you will hear, Joseph has extensive experience in the One Village One Product platform, having studied and lived in Japan. He is currently lecturing in Design Thinking at the Virtual University of Senegal. I first met Joseph at a forum for One Village One Product hosted by Vietcraft in Ho Chi Minh City. One Village One Product offers us the chance to think about the place of craft in a local rural community. Here what is important is not the artistic dimension, but the use of local skills and materials. In this sense, it is viewed alongside other artisanal products, such as rice paper, soap and bamboo tea. This raises the question of whether the artistic nature of craft, evident in the collectable object, is culturally specific, and of limited relevance in some African cultures and beyond, especially those without commercial art outlets. [Presentation](https://firebasestorage.googleapis.com/v0/b/firescript-577a2.appspot.com/o/imgs%2Fapp%2FErbu%2FIWSoZqs6J3.pdf?alt=media&token=c722a42a-97db-49e4-a875-cb4e1558e2f8}) Joseph Ndione from Senegal presented a history of a movement to rejuvenate rural communities. It began in Japan and now inspires programs across the world, lead by Vietnam. As the COVID pandemic disrupts global supply chains, it is important to review the role of local production. The One Village One Product program was very successful in Japan. In Oita prefecture, it included not only craft and food products, but also traditional activities such as wrestling. Following this success, Japan extended the platform to developing countries, including 40 African nations. Other countries and cities adopted their own versions of this principle, such as Wuhan's One Village, One Treasure. In Senegal, it was useful in the development of luxury craft, designed by those who had studied in the West. Joseph felt that local diplomacy and leadership were critical to its success. Joseph discussed its success in Vietnam, where One Commune, One Product involves 6,000 villages, of which 2,000 produce craft. He highlighted the connection between a wide diversity of products through a common material, such as coconut. Le Ba Ngoc, the director of Vietcraft and iOVOP spoke about the way the platform now underpins international trade agreements. An important role for the platform is to find ways to improve productivity through shared technologies. A major event in Vietnam is planned in 2022 that will feature the world of OVOP. Kevin Murray mentioned how this platform could extend to Western countries that did not have the same village structure. The East Gippsland Craft Map is a pilot exercise to tie local production to tourism. This can be scaled up to international levels through development of mobile apps. Implicit in this discussion was the common connection between craft and ephemeral products like food and cosmetics. Both have a strong handmade element that are important to a healthy local economy and community. OVOP reflects that values of Gandhi's swadeshi movement that supported Indian independence from colonial interests. <div style="display: block; position: relative; width: 100%; height: 0px; --aspect-ratio:9/16; padding-bottom: calc(var(--aspect-ratio) * 100%);"><iframe src="https://www.youtube.be/embed/36VAVeuwZeM" allow="fullscreen" style="position: absolute; top: 0px; left: 0px; height: 100%; width: 100%;"></iframe></div>