Aim to influence positive change in favour of communities and eventually help empower them to become an agent of change.
An Alien in Hampi: Heritage Studies
February 2019
Heritage Studies: Ethnography and Communication
CONTEXT
Anaegundi- Hampi region.
COLLABORATORS
Srishti Institute, The Kishkinda Trust and UNESCO Chair.
TEAM
Koumudi M. (Architect, Heritage and Conservation)
Manan G (Civil Engineer, Urban Planner & Designer)
ROLE & RESPONSIBILITY
Fieldwork documentation, Framework and Data Analysis, WordPress blogging.
The focus of the project was on exploring different audio, visual and communication tools for interaction and representation. Based within the context of Anaegundi- Hampi region, engagement with communities and narratives from one or many cultural backgrounds was intended. The theme explored for oral narrative documentation was Vernacular Construction in the Anaegundi- Hampi region. Active and empathetic contact with different stakeholders to record, observe and interpret, allowed a first-hand understanding of the socio-economic, cultural, political and developmental aspects of places, people and practices. Oral Narratives were recorded using these tools and were analysed to make a WordPress archive.
Being an alien forms an integral part of Ethnography exercise. My only methodology was to be an alien during the entire exercise to record oral narratives on Vernacular construction. I was alien to the landscape, to myself and to the community. But never was I alien to people’s emotion, way of life and perception of life. Being unknown and empty gave me an opportunity to absorb the maximum which came my way, in it’s most unbiased and pure form.
Themes explored
SENSE OF PRIDE
A craft and its processes hold special meaning for the craftsperson. It connects to their legacy: history, present and future in the memories and its practices. In the practice of vernacular construction in Hampi area, common materials seen are stone, bricks, lime mortar, mud mortar and wood. In the interactions with craftsmen working with these different materials, this sense of pride and ownership of the knowledge was unmistakable. With different perspectives presented by different people, the only common thread was the love for the craft.
WOMEN LABOUR
Though this particular craft of vernacular construction is majorly male-dominated, women play a very significant role in this community. There are two levels where women support the practice: as helpers to the craftsmen and second, as family, providing a support structure. Sri. Dastagiri, a senior craftsman who practised wood carving, recalls how his wife used to help him while staying at home taking up all sorts of tasks ranging from processing wood, shaping and smoothening wood for carving, to actual carving, all while ensuring all chores and responsibilities of the house were taken care of.
VERSATILITY
Vernacular construction is seen in all spaces and places across the country. The forms it adapts in each area is based on the materials found locally, the kind of climate and environment and the lifestyle requirements of the people living in these houses. Thus the basic building blocks of vernacular construction here in Hampi are stone, mud, brick, lime and wood. These materials are put together to essay into houses with a visual language of their own. Despite the fact that newer materials have begun to creep into the construction practices here, this strong sense of visual language and identity still remains.
STRUCTURING THE VERNACULAR
The word ‘structure’ in this kind of space could have several meanings and layers. It could simply mean the structural elements of the house which are strong and sturdy holding these houses up for decades and decades. The materials and elements based on the local context and climatic requirements form the skeleton of the house that lends it strength. Alternatively, the structure could also refer to that of the team of workers required to construct the house or carve the elements of the house.
