This is a short research film made during a textile research residency in Bangladesh. Meeting and working with local Jamdani weavers and their families. Rupganj is located just outside of Dhaka, here I met Alamin Bhai's family business, a weaving workshop nestled amidst many others in a village nearly entirely dedicated to making and setting up looms, and the weaving of Jamdani sarees.
Performance part one - Making the Warp - "Your threads cut my fingers..."
This short video outlines the first performance of "Your threads cut my fingers...." Creating the fine, cotton warp which was then used in the second performance piece of "Your threads cut my fingers... they bleed yet again and again" at INIVA. This warp was beamed on to use on the loom, slowing drawing and unravelling the threads across the beams before being cut.... Undoing and re/doing the repetitive actions and labours of (historically violent) textile production in making a reflection on creativity/bodies/production and capital...
Paragraphs and Borders conceptually stems from reading textiles as texts, and the transmission of language. The piece is a photograph of a handwoven piece of cotton cloth, stretched, compressed and zoomed in digitally until it is visually not recognisable as a textile any longer but resembles an abstract print. A distance is created between the intensive labour processes that had been produced to create the hand woven cloth, and the viewer. To reimagine a cloth imbued with the expected labours of a South Asian textile artist and manipulate the medium to throw it out of context, as commentary of the continued cycle of globalised racialised labour expected to continually meet demands of the consumer, or viewer. An unreadable text(ile) that re contextualises how the textile can be read. The piece is rooted in examining exhaustion, art production as labour, and the very physical labour of hand weaving and it's relationship to my disabled (queer brown) body. The labour processes are distilled into a sound piece instead to convey not the final piece of cloth, but the vast labours needed to produce and fashion a fine woven cotton fabric.
XANA http://xa-na.com/ Sound Artist based in London. We collaborated together to create a layered sound piece taken from the abstracted sounds of the labour involved in weaving a handloom woven cloth.
"The literary roots of postcolonial studies mean that debates about voice and, crucially, voicelessness, are familiar concerns. But it may be worth asking if it is fair to ‘read’ the textile in the same way that we might treat a piece of postcolonial literature. On the one hand, text and textile share numerous linguistic connections. It has, for example, been noted by scholars that the root of the word ‘text’ is shared with ‘textile’, essentially ‘to weave’.
The construction of texts share similarities with that of the textile. By this I mean the building up of small increments (words, threads) into a larger whole (sentences, paragraphs, cloth). As a result, there is a structural familiarity between the two disciplines that has been explored by scholars who observe that the knowledge of one discipline may then be transferred to another. "
Post colonial Textiles – Negotiating Dialogue – Jessica Hemmings Cross/Cultures: postcolonial studies across the disciplines
An exhibition exploring the theme of cultural identity and diaspora, within the framework of contemporary art. Showcasing different viewpoints by 12 artists across the UK on a variety of issuesthat arise when cultures merge, such as displacement, belonging, migration and heritage.
A collaboration by Raisa Kabir and Raju Rage who have worked on individual and collaborative textile/art practices, using cloth as a binding theme and thread, as a decolonising tool of resistance and metaphor. Using cloth, in installation and performative pieces, we address the violences of colonialism, in conjunction with carrying a gendered diasporic South Asian queer identity, in order to unpick the meanings of cotton cloth on the brown queer body. We are particularly interested in the British colonial migration of South Asian labour to the rail roads of East Africa and to textile mills of Britain, in places such as Manchester.
"There is More at Stake Than Just 3 metres of Cloth" A cloth to be worn as a turban, conceptually conceived by Raju Rage, was collaboratively designed and hand woven by Raisa Kabir. Exemplifying the migrations of South Asians from North India/Panjab to East Africa to Britain, and the symbolism encoded within the turban. It signified a visual recording of this complex migration history, the colours which begin brightly coloured as worn in India, are symbolic of the transition of culture, as they migrated again and again, in order to survive the racism, and violences of living in the diaspora, the colours sobering until the cloth is rendered plain black. The final woven turban was then used in a performative piece by Raju Rage who wore the cloth on their non binary body, reiterating the struggles of having to define gender, culture, race, ethnicity and sexuality in the diaspora.
Woven cloth 2014
5 x images from performance as part of Guest Projects Residency London 2014