>[!NOTE]+ Meta Author:: [[Linda S McIntosh]] Reference:: https://garlandmag.com/loop/nithakhong/ Date:: 2021-01-20 Tags:: #warp/talk #Laos #embroidery WeftLinks:: [[Reinventing the Wheel]] [[Cultural value of craft]] ### Summary [[Kolokesa Uafā Māhina-Tuai]] Offered the salutation: > Sacred be the performance, material and fine arts, sustained by symmetry, harmony and beauty , with functionality via warmth, fieriness and energy, produced by knowledge, skills and feelings with the hands as refinement of form and content Welcome to this Reinventing the Wheel event. These a what you might call yarns, or a talanoa in Moana, where we respectfully share information, stories and ideas that help enrich our understanding of the creative practice we call craft, the skilful creation of objects that give meaning to our lives. This is part of the development of a knowledge house for craft, which will be a place to gather this richness for research and collaboration. One of those developing this knowledge house is Linda McIntosh. Linda is quite a unique figure. She speaks fluent Lao and Thai. In 2009, she completed a PhD at Simon Fraser University, titled Textiles of the Phuthai of Laos. Linda has written many publications, including __Art of Southeast Asian Textiles: The Tilleke and Gibbins Collection__ and __Thread and Fire: Textiles and Jewellery from the Isles of Indonesia and Timor__, which we featured in our Indonesian issue last September. She currently resides in Luang Phrabang in Laos where she oversees the Asiama museum Today she'll be talk about Tiao Nithakhong Somsanith, an extraordinary figure in world craft whose biography Linda will outline. There are at least three reasons why this talk will be of special interest. First, it continues our quest to understand the cultural context of craft, beginning with Aarti Kawlra's discussion of Asianness as an ideal in early 20th century craft thinkers, Laila Al-Hamad's presentation about the importance of smell in Arabic culture and the value of custom that underpins crafts in the Moana. This is our first focus on South-East Asia, where we find a combination of monarchy and socialism (our next will feature the One Village One Product movement which is currently led by Vietnam). Royalty has obviously played a key role in crafts of the millennia, in the exquisite works we find in museums that were produced under the patronage of courts. But it is at odds with Western craft values which often emphasise its beauty for everyday use. The time of Kings and Queens, Princes and Princesses seems anachronistic. But is it? This is also a chance to consider the role of Buddhism in craft. Nithakhong's work does seem to emphasise ephemerality, which is contrary to the conventional idea of craft as treasure to be preserved over generations—what Māori call a taonga. How can you embody ephemerality in precious works? These questions make today's talk particularly interesting and Linda just the person to answer them. Linda McIntosh gave a most interesting talk that offered a different perspective on the place of traditional craft today. Royal crafts in Laos seemed different to other courts in that the aristocracy are expected to practice it themselves, rather than commission others. She traced Nithakong's exile into France as part of a process that moved his royal craft duties from the court to the art gallery. His return to Laos was a source of tension because the Communist government saw the use of gold thread as elitist. They promoted instead cheaper fibres like cotton that could produce large quantities of fabric for everyday use. The conventional use of gold embroidered fabric by elites was frowned on. Nithakong adapted to this by introducing cheaper fibres such as rame into his embroideries. These are quite wonderful and innovative works, but still appealed more to Western audiences. Privately, he continued promotion of traditional Laos culture with classes in making rituals and religious artefacts for us in temples and by monks. Meanwhile, his work has been taken up by Western art circles, including the artxchange gallery in Seattle (who were present at the talk). Linda noted recent revival of gold embroidery in Laos, but this did not have the integrity of Nith's work. For her, the key element is the story that the work tells in a skilful fashion. Given the demise of the court, there is the danger that Nith's skills and knowledge will not be passed down the line. This talk showed the role of the court in providing a space to nurture and develop craft, removed from commercial and political contingencies. What appears to be happening is that the art gallery is taking over the role of court at least in displaying and encouraging the work, though it doesn't provide the means of inter-generational transfer. The role of "merit" was fascinating. The names of sponsors for religious embroideries were prominently displayed in the work itself. Linda explained that this was to help with reincarnation. Meanwhile, the embroidered leaves in the recent art work by Nithakong are given by people from all over the world. This conversation really demonstrated the value of many different cultural perspectives coming together. We had a comparison with craft supported by Tongan royalty. The outsourcing of craft by the Peranakan community in Singapore. A similar value of ritual in Arab cultures. It would be interesting to hear a Thai perspective where the court has continued to play a strong role in the modern nation. There could also be comparisons with Prince Charles support for global artisanship, the influence of aristocrats in the World Crafts Council, the role of the Sultanate in Yogyakarta, etc. This seems critical to broadening the conversation beyond a Western focus on the individual studio model. Next, we turn to the One Village One Product movement which emerges from the opposite end of the social system. Joseph Ndione will talk about the international platform currently led by Communist Vietnam. It will be productive to keep Linda's talk in mind. <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.com/embed/ycglQP2E3yg" allow="fullscreen" style="position: absolute; top: 0px; left: 0px; height: 100%; width: 100%;"></iframe></div>