Education Outreach Project 2019 Project Team Shruti Chakke, Urja Jhaveri, Kunal Lokhande, Aijin Shaji PROJECT Guide FACILITATORS
Tanishka Kachru, Jonak Das
Project Supported by
Supported by the Cultural Preservation Grant of the Federal Republic of Germany in India.
In collaboration with
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Achi Association Achi Association India is a private, non-profit organization which was founded by people dedicated to the preservation
Achi Association isspecialized a private, non-profit which of cultural heritage andIndia scholars in the early art andorganization architecture of the Western Himalayas. In 2010 it was registered as a non-profit organization under section 25 of the Companies Act, 1956 having its base at New Delhi. The was founded by people dedicated to the preservation of cultural main objectives of the Association is to contribute to the preservation of Ladakh’s outstanding but endangered heritage and scholars specialized in the early art and architecture heritage; to enhance awareness about earthen architectural heritage and need for its maintenance; to strengthen of the Western Himalayas. 2010, the Achi Association India wasthe Association concentrates local capacities in traditional buildingIn techniques and preventive conservation. Currently on a number ofunder early temples and 25 regions in Ladakh, which are not protected otherwiseits including Kanji, Skurbuchan, registered section of the Companies Act, 1956 having Heniskut and Nyoma. The Association has also worked at the site of Wanla which has now been protected by the base at New Delhi. Its purpose contribute Archaeological Survey of India, Governmentisofto India for posterity.to the safeguard of the outstanding but endangered cultural heritage in the Himalayas. An interdisciplinary team of specialists from India and Europe, partly on linked to academicof programmes at different Currently the association concentrates its efforts a number universities, combine in-depth research with hands-on preservation. The involvement and participation of the local early the Tibetan Buddhist area ofAssociation Ladakh,has Northwest people temples is crucial forin sustainable preservation. Therefore, Achi a strong commitment to involve the local community thenot conservation projects and to assistAn in capacity building for heritage India, which in are protected otherwise. interdisciplinary teammaintenance and preventive conservation. of specialists from Europe and India, partly linked to academic programs at has different universities, combines in-depth In its quest, Achi been focusing on conservation and education projectsresearch in particularwith which aim to develop a deep understandingpreservation. of Ladakhi cultureThe and practices are being lost or replaced at a fast pace. A few years back, a hands-on typicalwhich earthen architecture with its flat ‘Youth Training Program’ (YTP) was launched by members of Achi Association, with the support of the Getty roofs andLos the splendid particular the wall paintings Foundation, Angeles (USA). Itinteriors, assisted thein local communities in capacity building for heritage maintenance and introduced methods for plaster, preventive pose conservation to them.conservation The YTP culminated in 2012 and engaged participants from executed on clay particular problems. the Ladakhi community- monks, nuns, students and heritage professionals, empowering them with practical tools of They are the focus of Achi Association’s conservation efforts. undertaking awareness programmes on Ladakh’s heritage, and also understanding issues of preservation and The involvement and participation of the people is key conservation of built and artistic heritage of Ladakh. Sincelocal then, many members of this YTP community have continued to work onpreservation. Achi projects in various In 2014 a Leh office established and it is managed by the for sustainable The capacities. Association assists thewas local Ladakhi participants of the YTP who are now assuming leadership roles in running projects. communities in capacity building for heritage maintenance and introduces methodslaunched for preventive conservation. Since Since 2017 the association an Education Outreach Programme andits a Pilot was attempted in 2017 and 2018. The Education Outreach Programme is looked at as an opportunity to expand experiences of heritage foundation, the Achi Association and its works have continuously preservation and interpretation to a larger Ladakhi community for long term impact and overall sustainability of expanded. This growth byanthe commitment heritage preservation initiatives has in thebeen region. enabled Coupled with on-site conservation project at Skurbuchan in 2019 and suported by the German Embassy, it provided ample opportunity local heritage of its collaborators from different countries whoforsupport theworkers to assume skills and knowledge. As part of a more comprehensive and sustainable approach - one that fosters the coordination of organization through their contributions, their professional expertise resources and capacities, involves the communities, and which ultimately empowers the local population to eventually and their practical on site. take the management andwork maintenance of their heritage into their own hands, a strong collaboration was forged with the National institute of Design, the country’s leading Design University under the Government of India.
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About the Project Achiproject Association is involved conservingand heritage in Skurbuchan, The of 2019 aimed atinpreserving showcasing the wall paintings in the and preserving the cultural heritage, tangible and intangible, Skurbuchan Khar. The architectural structure had been stabilized and restored of Ladakh. Achiyears has made progress in Skurbuchan, with their was extremely during the last by AAI. The Education Outreach Project conservation work at Khar, Skurbuchan which is being supported important as a supplementary initiative for the entire region as over the years, a by thehas Embassy of the Federal in India. need constantly been felt toRepublic developofa Germany platform for young professionals from As a part of the Associations Education Outreach Project and NID’s Ladakh so that they could be involved with various aspects of their own cultural Design Project 4, based on Sustainable Development Goal no. 11; heritage and eventually become opinion makers. The Education Outreach sustainable cities and communities, we worked in collaboration Programme (EOP) utilized themuseum project of conservation of wall paintings in with Achi Association on two projects in Skurbuchan. Our Skyurbuchan the monastery’s collections as the practical field. brief entailed,and research and understanding of the village, and then work on the two museums. The Kitchen Museum, in Skurbuchan
As a part of needed their Design 4, based Sustainable Development Goal no. monastery, to beProject developed till theonstage of a decided 11; sustainable cities and display communities, NIDvisualisations. students andWhile faculty worked in narrative, content layout, ideas and collaboration with Achi Association on two museum projects in Skurbuchan as for the spaces in Khar, documentation of agro-pastoral practices was of required, to It develop an research interpretive for the Agriculture part the EOP. entailed, andplan understanding of the village , and then Museum. One of work The in the Kitchen Museuminwas already monastery, work on the twolayer museums. Kitchen Museum, Skurbuchan done, which involved documentation and cataloguing of the objects needed to be developed till the stage of a decided narrative, content layout, that inhabited the space. It was done, two years before out project display ideas and visualisations. While for the spaces in Khar, documentation of started, in 2017 by threewas girls.required, However,tothe objects just agro-pastoral practices develop anwere interpretive plan for the Agro catalogued according to their use, but not seggregated for the Museum. purposes of the museum. We were also provided with Nishant One layer of work in the Kitchen Museum was already done, which involved Upadhyay’s document, as one of the materials provided for reading documentation and cataloguing of the objects that inhabited the space. However, before our visit to the village. As for the proposed Agriculture the objects were just catalogued according to their use, but not segregated for the museum at Khar, there were some agricultural equipments kept purposes of the museum. in the Rabsal room, mainly made from wood. The Agriculture museum at Khar, was an idea of the Rinpoche of the Skurbuchan
As for the proposed agroofmuseum at Khar, were some agricultural monastery, as a means documenting thethere agro-pastoral lifestyle equipments kept Rabsal room, mainly made from wood. The agro museum and traditions of in thethe village’s residents. Hence for developing at Khar, wasplan an idea of the Rinpoche of the monastery, as a anthe interpretive for Agriculture museum, an Skurbuchan extensive means of documenting the agro-pastoral lifestyle and traditions of the village’s documentation and material was collected on agricultural practices Hence for developing an interpretive plan for Agro museum, an residents. extensive documentation and material was collected on agricultural practices. 5
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Ladakh Ladakh is a region administered by India as a union territory, constituting a part of the larger region of Kashmir which has been the subject of dispute between India, Pakistan, and China since 1947. It is bordered by Tibet to the east, the Indian state of Himachal Pradesh to the south, Jammu and Kashmir and Baltistan to the west, and the southwest corner of Xinjiang across the Karakoram Pass in the far north. It extends from the Siachen Glacier in the Karakoram range to the north to the main Great Himalayas to the south. Ladakh’s ethnic composition consisted of Mongoloid and a mixed Indo-Aryan population of Mons and Dards.
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INDEX Skurbuchan Introduction People Culture Places of significance Interesting characteristics of the place Khar and Monastery Skurbuchan Khar Skurbuchan Gonpa
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Skurbuchan Introduction Skurbuchan is a village located in the Khaltse district, in the sham region, Ladakh. It is a small village populated by around 300 households, surrounded with a high east and a low west wall of mountains. Skurbuchan, also known as Skyur Buchan, has an established Buddisht monastery, of the Drigung sect, following the school of Kagyudpa lineage. On the Western cliff, overlooking the entire village, is the Khar, a small palace that served as a temporary residence for the kings. While on the East, enveloped by the steep cliffside slope, the Monastery stands, at the highest point, overlooking the village of Skurbuchan. Skyurbuchan is the distorted form of Skin Brus Chan which means a place with pits dug by Skin (Ibex). The reason is that formerly wild goats used to come to the spring (chashma) on either side of the present monastery to drink water and dig there to find roots of grass. Another meaning of Skyurbuchan is a place with sour fruits. Legend is that once a brave man killed an enemy of the village in a Skir-mish. So the villagers planted a plum treat the field Khasra no 948, which also happens to be the plot of the Kagaa (nobility). In memory of the brave man. The pulm tree is called Kham Skyur which means Sour Fruit. This same story is also connected with the legend of Guru Rinpoche. Ref. from Nishant Upadhyay’s Doc - The Skyurbuchan Khar and it’s future use
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People and Culture The village of Skurbuchan has around 300 households, with an average of five family members in most households. The majority of the villagers are practitioners of Tibetan Buddhism. There is ahigher caste, Kaga, and the Insert lower caste called Garba/ Gara. The text here rest of the village community is formed by six phaspons , the families of which reside across six neighborhoods/mohallas. Phaspons are a group of 15-20 families that form a community within the community. They share in their pool of resources, working on a system of mutual dependency, where each family helps another family in the phaspon, if and when needed. The people of Skurbuchan are known for their humorous nature, and witnessing a group of Achilay’s sitting together in the community space drinking chhang, was a common sight. Most of the younger children and adults in Skurbuchan, have moved out of the village, coming back home during winter periods. Each farm though, usually has the older parents, and one or two children that stay back, to tend to the fields.
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Overview map of Skurbuchan
Khar
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Gonpa
Khar Gonpa
Argyalam
Settlement Distribution Before the 2010 floods, all houses in the village were built on the cliffside since the arable land for agriculture was too precious to be used as residence. Houses are built in clusters with narrow lanes. The Argyalam means ‘everyone’s lane’, and is the widest road in the settlement. The Yura, the main water canal, passes along the Argyalam and thus this road and the spaces connected to it become a centre where many activities take place, from washing of grains, to weaving of Nambu, and making of tsepos.
Farmlands Every household in Skurbuchan, owns farmlands in the village and Nala, practicing agricultureas their main occupation. Involvement in crafts, and other interests are pursued in the waiting time or winter season, when there is lesser work on the fields. The main crop is Skurbuchan is Barley (Nas), second crop is buckwheat. Vegetables like eggplants, tomatoes, cabbage,etc are also grown. Fruits like apples, apricots, peaches and grapes are also cultivated, but for personal consumption only.
Cultivated Trees around farmlands Each household has trees around/in their farmlands. Most commonly grown trees are Poplar, Willow, Gerpa, Walnut, Apricot and Changma. It is also important to note that, the main source of income formost households in Skurbuchan is earned by selling apricots and its derived by-products. Hence, most apricot trees are planted around the farmlands owned near their houses in the village. 15
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Introduction to museum spaces Plan of the Spaces Subspaces Observations and Opportunities
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Skurbuchan Monastery Introduction The Gonpa is the highest building in the village, constructed on the cliff side. The Skyidichan Thekchen Targyasling monastery or the Tashis Chosling monastery, as it was earlier called, is a Drigung Kagyu monastery. Drigung Kagyu is one of the eight lineages of the Kagyu school of Tibetan Buddhism. The monastery houses a small collection of artefacts, in a space that served as the former Gonpa kitchen. It also has a temple and a school for training child monks called Konchoks.
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Kitchen Museum Plan of Kitchen Museum
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Museum Spaces- Kitchen Museum (Gonpa) Subspaces 1
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Kitchen Museum Observations Organic structures and display systems can be a challenge for the museum. Display system could enhance the contrast between space and artifacts (utensils don’t stand out in the cave because of the similar texture and color) Small rooms within the cave can be used for other storytelling mediums. Natural light is not sufficient enough to reach all the display spaces within the museum. The museum contains kitchen artifacts as well as religious artifacts, cohesive narrative which includes both is required. Labels with a lot of information can spoil the essence of the space, to overcome this a guided tour is preferrable. Flow of the visitors within the museum space can be improved by accommodating an exit point.
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Skurbuchan Khar The Khar stands on the one edge of the village, at a height, overlooking the entire village. It holds a high spiritual value with Avalokiteshwara’s idol and mural in the triple stores high room at the rear end of Khar. It also served as the king’s temporary residence earlier, but it is now owned by the Gonpa. The rooms on the first floor provides the best view of the village landscape. The Khar is currently under being restored by Achi Association.
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Agriculture Museum Plan of Agriculture Museum
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Museum Space
Museum Spaces- Agriculture Museum Subspaces 1
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Agriculture Museum Observations Most of the rooms have sufficient natural light. The space needs restoration in terms of wall finishing, flooring, doors, windows and balcony. The agricultural tools need to be categorised according to it’s function and agricultural process associated with it. There are few tools missing, without which the collection is not complete. They need to be identified and acquired. Some of the artifacts are in bad condition which requires either replacement or restoration. All the rooms can be accessed only from the central room.
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Methodologies Workshops Interviews 1. Overview 2. Interviews Documented Agricultural Practices Visits 1. Museums in Leh 2. Monasteries
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Methodologies
In order to understand what the village expected out of the museum spaces, two workshops were conducted. The key stakeholders and contributors of the museum would be school children, the village elders, and the monks at the monastery. The workshops were designed to initiate a discussion with these stakeholders and invite them and their ideas in the making of the museum. The museum is envisioned to be ‘for the people, by the people’ and thus the workshops was a medium through which we could understand the children’s expectations, desires and vision for the ‘Skurbuchan museum’. The adult workshop was organized to know how much information about the artefacts housed in the kitchen museum was known to them, and what else could be a possible value addition to the museum space. Thus, the use of workshops was done with the intent of involving the local community in the process, instilling a sense of pride and ownership of their culture as they identify their own cultural resources. Their involvement and sense of ownership could automatically lead them to consider how to manage their resources to support the space in the long-term. Interviews were also conducted to identify, record and map out the community’s cultural resources and skills. In mapping out cultural resources, knowledge systems from traditional arts and crafts , to agricultural practices were uncovered. This data was collected in order to recognize if there were opportunities of production of museum displays, souvenirs within the village itself. Cultural mapping could help in identifying additional livelihood opportunities. The interviews were also a medium to collect stories, and information on their lifestyle, which could help in developing the museum narrative. Consequently the documented data serves as a prerequisite to develop a sensitive strategy and program, taking into account the cultural heritage and respecting the cultural diversity of the community. 31
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Student Workshop Objective of the Workshop Find out what kind of a museum do the community elders hope for, and what role do they want the museum to play. Also, bring out narratives that they have about the objects that the museum will house and what stories do they want to be conveyed to younger generations/visitors. Aim of the workshop was to understand the perception of past and heritage among the younger generation.
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Introduction Students were introduced to the idea of designing a kitchen museum at Gonpa. Giving a precursor of NID and design as a profession sparked curiosity and interest within the students for the workshop.
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(1) Draw a really old object from your house/ kitchen. (2) Your favorite recipe and how do you cook it?
Observations Objects from the kitchen drawn by students made them question how much they know and don’t know about their past. Huge variety of objects was seen in the outcome. Paba and Dangtur were common recipes which appeared in the 2nd exercise giving insights into student’s engagement in kitchen nowadays.
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(3) Have you been to the kitchen museum? (4) The chart paper is your museum and you are going to design your own museum on it.
Observations Students in teams came up with their own museum designs and narratives which were based on the given objects and folk tales in some cases. This exercise gave us insights into students idea of making the museum playful and interesting.
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(5) Four objects are kept in front of you, identify them and write about them.
Observations Students could identify some objects from the collection. The unknown objects were identified with the help of monks. Involvement of monks played important role in the facilitation of the workshop and convenience of language.
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6) Make labels for the objects and design a display for the four objects.
Observations Students used the available material creatively to display objects and also applied local motifs on the chart paper to give them Ladakhi feel.
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Workshop with adults of Skurbuchan Objective of the Workshop Find out what kind of a museum do the community elders hope for, and what role do they want the museum to play. Also, bring out narratives that they have about the objects that the museum will house and what stories do they want to be conveyed to younger generations/visitors.
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Vision for the museum suggested by the participants The participants wanted the value of the museum objects to be known throughout Ladakh. They view the old objects as precious items, museum can be a place for storage/collection. They view the older objects as heirlooms, something that can be passed on from their generation to the next, through the museum
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Vision for the museum suggested by the participants They expressed their gratitude to the Gonpa for having preserved these items, since they themselves don’t have it anymore. They wish that a book is published, documenting their lifestyles: how they cooked, how the ate, what they ate, etc. They think that it is necessary for children to know about the materials that were used before plastic and aluminium, and the cultural value and lifestyle benefits of using these older objects.
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Observations Interesting thing that came out during the kitchen organisation activity was the drawing of the utensil display shelf (tsangs): Most of the time in this activity was spent on detailing the categorisation and the arrangement of the categories of utensils in each part of the shelf. The ladies (amale) and gents (abale) side that existed in the layout of the kitchen was also interesting, along with the associated item ware on each side according to the work each one did. The pills called Kaju, also came up in the drawings with a discussion about its importance in every household.
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Nambu Maker
Tashi Norbu
Nambu & Thagcha maker
Pulche Angche
Jigmet Dolma
Stanzin Paljor
Doje Kharpon
Tsewang Norbu
Skerak maker
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Ironsmith
Carpenter
Apricot food processor
Pulche Angche
Tsering Rabgyaj
Tsewang Rigzen
Dongmo maker
Ladakhi attire and thigma pabu maker
Flute, Sepo & Mane maker
Tsering Stanzin
Phunchok Tashi
Azang Malik
Ladakhi folk singer
Sepo maker
Thigma Pabu maker
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House Name Azang Malik (Surupa) Occupation Agriculture, Thigma Papu maker Work experience 30+ years, made 350-400 shoes pricing. INR 1200, labor cost only. INR 2000, all inclusive price. Clientele Children for dance competitions, Older people with arthritis/joint problems. Thigma Papu, are shoes made of 9 different layers. Usually sold in the price range of INR 15,000-INR 25,000.
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House Name Tsewang Rigzen (Bethangpa) Occupation Sepo, Flute and Mane maker Work experience 40+ years, made flute pricing. INR 1000, labor cost only. INR 600, for Sepo Clientele Makes customized products of chipkiang grass and sells in nearby villages
House Name Tsewang Norbu (Santikpa) Occupation Nambu maker Work experience 40+ years, INR 600 for one Nambu Clientele Makes customized nambus. Able to deliver 20 nambus in a month duration. Customers are localites and nearby villages.
House Name Phunsok Tashi (Konepa) Occupation Sepo and yostan maker Work experience 50+ years, INR 600 for one Sepo Clientele Makes customized Sepo. Can make it in smaller sizes too for souvenirs. 51
House Name Tsering Rabgyaj (Kagapa) Occupation Farmer, Thigma-pabu maker Work experience 50+ years Clientele Makes Thigma pabu for his family members and friends, never into business. Also makes coats made up of yak & sheep wool.
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House Name Tashi Nurbo (Zanupa) Occupation Nambu and Thagcha maker Work experience 50+ years Clientele Sells Nambu for INR 600-800. The foldable loom Thagcha is sold for INR 5000 in nearby villages.
House Name Jigmet Dolma (Chonakpa) Occupation Skerak maker Work experience 10+ years Clientele Sells Skerak for INR 1700 in Leh and other villages. Usually makes 2 in one day throughout the year.
House Name Tsering Stanzin (Nyarmapa) Occupation Farmer, Singer Work experience 40+ years Clientele Has been recognised on radio and doordarshan. Won 4 awards related to singing. Also published 3 books of Ladakhi songs and has his songs recorded.
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House Name Pulche Angche (Ajankpa) Occupation Dongmo maker Work experience 40+ years Clientele Sells Dongmo made up of Bernak wood for INR 3000-4000 whereas Juniper one for INR 5000. Can make customized designs.
House Name Stanzin Paljor (Chatpopa) Occupation Conch shell bangle maker, Stone Utensil repairer, Ironsmith, Ploughing equipment maker, made and repaired utensils Work experience 60+ years, worked for grains not money Clientele Residents of Skyurbuchan, Achinathang, Yogmathang. Also he is willing to donate his equipments to the museum and this will be a value addition considering that his knowledge of utensil making is not passed on due to lower caste and it dies with him. 54
House Name Dolje Kharpun (Zanupa) Occupation Apricot fruit processor Work experience 20+ years Clientele Customers are mainly shopkeepers and guesthouses in the village. Wholesale rate INR 80-90, Retail INR 110, Middlemen INR 200/kg, Retailer INR 500/kg. Also had a contract with Patanjali for 3 years.
House Name Tsering Tunduk (Malepa) Occupation Shingsak & Kejru maker Work experience 30+ years Clientele Expertise in intricate wood carving. Works on wages of INR 900 per day.
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Visits Museum LAMO, CAML, Hall of Fame
Monastery Hemis, Alchi, Sumda Chun
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Museum LADAKH ARTS AND MEDIA ORGANISATION ( LAMO ) Key Observations The design language of the exhibit goes with the architecture of the place (Furniture, Display system, signage etc.) LAMO can be a good reference point for repurposing heritage spaces into contemporary museum institutions. CENTRAL ASIAN MUSEUM LADAKH ( CAML ) Key Observations The wall finishes in the CAM , is to be implemented in Khar too, and was a good inspiration for the wall finish that we propose for Kitchen museum as well. HALL OF FAME Key Observations The Hall of Fame has a very strong and powerful narrative but the displays cannot highlight the content. The graphic fonts are very bold and not curated well. The parade at the end had mediums like light, sound and films which enhanced the experience.
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Understanding Information Map 1. Material and Goods Flow within village 2. Material and Goods Flow beyond village 3. Crafts Mapping
Space Culture Land usage in a farm
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KASHMIR Thap (Winter furnace) Dodas’ for Labour
Color Dye
Yak Wool
Yak
Shawls Gur-gur tea / Butter tea
Dung
Fuel, manure
Dzomos
Dung
NEPAL
Painters; resources
Thermos’ Thap Bullu Wood Safeda Wood
Ploughing
Animal Rearing
Labour
SRINAGAR
Gold/ Silver Iron
Blankets / Chal-li
Yak Butter
Milk
JAMMU
BHUTAN
LEH
Bullu Wood Safeda Wood Apricot Jam & Juice
Big Mane Wheels General Commodities
Wet cheese (local) Dried cheese (local) Fuel, manure
DELHI Butter
LUDHIANA
Goat
NALA
Thigma Pabu
Sheep
Wool
Shared pool of resources
Knitwear: socks, sweater, zomba, etc.
Skerak Dyeing JIGMET DOLMA
Skerak
VILLAGE FARMLANDS
SKURBUCHAN
ACHINATHANG
Namboo
Apricots
Dried Apple and Pear Buckwheat grains
KARGIL
Buckwheat Sausages
Apricot Food Processor DOJE KHARPON
Apricot Fruit
KHALATSE
Apricot Jam & Juice Packaged food packets
Utensil Maker
Kitchen Utensils
Buckwheat Barley
Agricultural Produce and derived products
Skerak Dried Apricots (Halman) Apricot Oil Apricot Seeds
Apples, Pear
Agriculture
Knitwear
Yoza, Satthu, Snamphey (flour), chhang
Rajma and Masoor Vegetables Walnut: Fruit, Wood
Tomatoes, carrots, onions, eggplants, Labuk, Spinach, cabbage, cauliflower, potatoes, turnip, capsicum
Useful types of Grass eg. sipskyung Flowers Poplar Changma Wood
PALJOR
YOGMATHANG
Willow Umbo Dungma
Loom Maker TASHI NORBU
Namboo Loom
HANUPA
Carpenter
Woodwork
STANZIN KUNZANG TSERING TUNTUK Dongmo Maker PULCHE ANGCHE
Pakbu Making
Harip/ Flute Maker TSEWANG RIGZEN
Woodwork tools TASHI TUNDOP
Skills and Crafts
PLACES Goods/ Products
Ironsmiths & tool makers
Ironsmith SONAM PALJOR
Imported into Skurbuchan Secondary flow between places
Straw Products
Processed
Tsepo maker PHUNCHOK TASHI TSEWANG RIGZEN
Agriculture related Related to Crafts
Agricultural equipments PUNTSOK ACHIK
Exported OUT of Skurbuchan
Weavers
Namboo and Skerak Makers
Thigma Pabu
Thigma Pabu Makers
TASHI NORBU TSEWANG NORBU
AZANG MALIK SURUPA
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Land Usage in a Farm Most of the hosuehold food needs, satisfied by supporting farmland. Indicator of self-sustainance. Strong connection between farm and house. Agricultural Biodiversity present. Small scale farms with integrated livestock. Main crop is harvested for household use throughout the year. The weeds, like chipkyang, widely grown in Khachetang Mohalla and Myuthong, is found near the field boundaries.They are strong and sturdy, and consequently contribute to the local craft of Straw products. Flowers planted for adding ‘beauty’ element to the field. Poplar/Willow trees if planted, suffice for roof construction (inhouse) Vegetables grown ranges according to household tastes. Extra vegetables planted, to dry and store for winters; like shalmuk. Local Toilet in the house provides for organic manure for manure.
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Relevance of the museum Approach Questions Who is this museum for? Whose story are we telling? What role will the museum play in the village? Vision Mission
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Insightful Enquiries
Who is this museum for?
Whose story are we telling?
What’s the position of the museum in the village?
The museum aims at the skurbuchan community as the primary audience. These can be divided into farmers, adults, children, monks etc.
Agriculture and kitchen is at the center of people’s lifestyle and culture.
The museum distances itself from any religious and political narrative.
The objects and space hold stories about ways in which ladakhi people are / were living.
It acts as a bridge for knowledge exchange between different generations and locals and outsiders.
The museum attempts to pass on the cultural heritage by facilitating interaction between different generations. Secondary audience for the museum for the museum are tourists and people from neighboring villages. This audience can have either some or zero understanding of ladakh and skurbuchan.
Being an Agrarian society, ladakhi people managed to survive and thrive in the harsh climatic conditions of ladakh. Factors such as Religion, Politics and trade played a reciprocal relationship with ladakhi lifestyle.
The museum stays grounded and acts as a facilitator for the community instead of putting itself on an authoritative position.
It is crucial to not glorify or romanticise or propagate any religious/political ideology through the narrative. The story focuses on the lifestyle of people and their resilience in the harsh climatic conditions of ladakh through the lense of agriculture and kitchen.
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VISION To safeguard and pass on Ladakhi cultural heritage
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MISSION • Facilitate conversations about culture and heritage between different generations within the village. • To preserve and document the artifacts and objects (kitchen and religious). • To become a bridge between the village and visitors for cultural exchange. • To provide institutional support for community events. • To build socio - cultural resilience against rapid urbanization and development.
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Museum Narrative and Visualizations Kitchen Museum Zoning (Outer) Zoning of Museum Space Narrative Episodes Layout Agriculture Museum Zoning Scenario Building/ Narrative Episodes Documentation of Agricultural tools 68
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Kitchen Museum Narrative Note People of Ladakh made their living through Agropastoral practices. Their resilience and creativity can be seen through their ability to survive and thrive in the harsh climatic conditions of the region and work within limited resources. The Museum takes the visitors through the journey of Ladakhi lifestyle and practices which has shaped their way of living.
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Space Layout
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Narrative Episodes
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Introductory question panel -Sets the voice of the museum and inquiry for visitors to make sense of the kitchen.
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Tea Section -curates the uteinsils related to tea making and serving.
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Chang Section -curates utensils related to chang
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Communal Kitchen Exhibit -curates community kitchen uteinsils and talks about relevance of sattu in ladakhi food culture.
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Narrative Episodes
Introduction Panels
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Chang Section
A 2
Tea Section
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Communal Kitchen Section
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1. The Introduction
Viewpoint
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1. The Introduction Narrative Episode
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The Museum talks about agropastoral culture of the Ladakh, it puts emphasis on the Resilience and Creativity of the people in this region which made them survive in the harsh climatic conditions. The Introduction panels set the inquiry for the museum which visitors will find out through expireincing multiple exhibits. How did they survive?
Educational Objective Looking at the kitchen and understanding its importance through -How the ladakhi life used to be throughout different periods? -Self reliance and sustainance of the community -What has shaped ladakhi lifestyle in this way?
Media Suggetions Panels 75
2. Tea Section
2c 2b
2a
Viewpoint
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2. Tea Section Narrative Episode Tea is consumed on daily basis and throughout the year in ladakh, It plays very significant role in the local culture and has many uteinsils dedicted to tea making procedure. This section puts emphasis on relevance of tea as important part of the ladakhi kitchen and food culture.
2a. Cave structure holds a miniature illustrating ceremony with tea being an integral part of it.
Educational Objective Understanding cultural and historical relevance of tea.
2a
Media Suggetions Miniature Model 77
Narrative Episode 2b. The area right next to the window has seating
arrangement along with the chukseys. The visitors are welcomed with a cup of Solja (Namkeen chai) The booklets are kept on the chukseys, visitors are asked to pick them up. The booklet contains explaination of the 2a miniature scene and it’s relevance to the uteinsils in the museum
Educational Objective Understanding tea making process in relation to utensils
Media Suggetions Artifacts, Panels, The book (Photobook/Sequential Images/Comic) Becomes the reference point for text info and stories. 78
Booklet
The booklet becomes binder of artifacts and rich information and stories about them. Visitors carry the booklet from first section and return it by the end of the museum visit. Booklet has chapters for introducing each section along with its cultural and historical context.
The interesting facts and stories will be numbered along with the objects so visitors can understand significance of each object. Booklet also contains Interactive games to create engagement with the artifacts and its content.
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Narrative Episode 2c. Tea display curates the uteinsils in the sequence of the tea making procedure.
Visitors sit and go through the booklet which talks about the tea display while they’re having tea. Uteinsils are numbered on the display and in the booklet. The display is being explained through the booklet. Supervisor/Guide can demonstrate the use of the uteinsils based on the questions asked by the visitors.
Educational Objective Understanding tea making process in relation to uteinsils.
Media Suggetions Artifacts, Panels, The book (Photobook/Sequential Images/Comic) Becomes the reference point for text info and stories.
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Narrative Episode 2c. Interactive games engage visitors for longer and spark curious enquires.
Educational Objective Understanding difference between uteinsils and their function.
Artifacts and it’s Information can be reflected extensively in the booklet that visitors will carry. The Interesting facts and stories will be numbered along with the objects so visitors can understand significance of each object.
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3. Chang Section
3b
Viewpoint
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3a
3. Chang Section Narrative Episode Chang plays really important role in the local life and rituals, ceremonies and festivals. This section introduces the significance of chang in relation to the artifacts.
3a. The cavity next to the Chang display holds a
miniature model which illustrates a ceremony/story relvenat to Chang.
Educational Objective Understanding cultural and historical relevance of utensils (ceremonies, festivals etc.)
Media Suggetions Miniature Model
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Narrative Episode 3b. The Chang area curates the uteinsils used
for making chang in the order of its process. Culturally significant stories related to chang will be communicated by the booklet.
Educational Objective Learning Chang making process in relation to utensils
Media Suggetions Artifacts, Booklet
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4. Community Kitchen Section 4b 4c
4b
4a
4d
4a
4d
4c
Viewpoint
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4. Community Kitchen Narrative Episode This section puts emphasis on the communal kitchen and the variety of recipes made with sattu, it curates a large variety of uteinsils dealing with different functions.
4a. The small door next to the Community kitchen
display holds a miniature model which illustrates usage of communal kitchen by monks.
Educational Objective Understanding the kitchen museum in the context of the monastery and its past.
Media Suggetions Miniature models
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Narrative Episode 4b. Display of the uteinsils is arranged according to their function and numbered.
Each page in the booklet is dedicated to an uteinsils which is numbered, the visitors will have to find the same numbered object within the space.
Educational Objective Understanding creativity of Ladakhi people (Creating variety within limited ingredients)
Media Suggetions Artifacts, Booklet
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Narrative Episode 4b. The booklet talks about numbered uteinsils along with a story which is culturally relevant.
A chapter in the booklet shows contemporary uteinsils with a number on it, the visitors will have to find the same numbered object within the space. (This game shows the contrast in the usage of materials in uteinsils and sparks curiosity to understand the change)
Educational Objective Understanding the change in lifestyle (Change in uteinsils, materials, fuel, tools) Reflecting and questioning the future of ladakh
Media Suggetions Artifacts, Booklet
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Narrative Episode 4c. A corner is dedicated to display objects relevant to the particular season. (the object can change monthly or bimonthly.) A panel explains the relevance of the artifact.
Educational Objective Understanding the relevance of the artifacts in relation to the time. Understanding artifacts outside kitchen (craft,instrument,religious object etc)
Media Suggetions Artifacts, Booklet
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Narrative Episode 4d. A map explaining the sources and material history of the uteinsils.
Educational Objective Understanding the material history and source of the artifacts in relation to ladakhs past.
Media Suggetions Maps, Panels, Booklet
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Agriculture Museum Interpretative Plan Proposal
Narrative Note People of Ladakh made their living through Agropastoral practices. Their resilience and creativity can be seen through their ability to survive and thrive in the harsh climatic conditions of the region and work within limited resources. The Museum takes the visitors through the journey of Ladakhi lifestyle and practices which has shaped their way of living.
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1
Narrative Episodes
Introduction room
B
Winter Season
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A
Crop Season
C
Kitchen Space
C
A
1
A
1
Introduction Room Gives Introuduction to the cyclic nature of the living. Conditioning the visitor to see the Cycles.
A
Crop Season This space talks about the crop season through sequential arrangement of farming tools. Spatially this space reflects outdoors
B B
B C
Winter Season This space refelects the winter agro activities (Focusing mainly on wool and it’s processes + products). Spatially this space reflects indoors suggesting shift in the season. Kitchen Section The kitchen space binds all the stories together.
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Narrative Episode
1
Introduction to the Cyclic nature of the ladakhi lifestyle with the lense of Agriculture and pastoral activities.
Educational Objective/Key message Understanding of people of skurbuchan as Agropastoral community.
Media Suggetions Panels, Photo series
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A Narrative Episode Crop Season: Agricultural tools will be displayed
in a sequence according to the timeline and process. Illustrations panels demonstrating how the tools are used will be displayed on the wall.
Educational Objective Learning about different agricultural activities and how they’re interlinked.
A
Learning about the crops in relation to the geo-climatic condition of the reigion.
Thematic Treatment The ground will be kept as it is, the space reflects outdoors and the crop season.
Media Suggetions Artifacts, Panels, Maps, Models
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Additional Exhibit for Crop Season The Balcony in this room can be used along with a map and binaculors to locate the places associated with different crops/fruits/ processes/activities within the village.
Educational Objective To understand the agricultural information in relation to the village.
Media Suggetions Maps
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Narrative Episode Winter Season: How the Crop season and Pastoral activities provide for the winter season.
B Educational Objective Learning about ladakhi life in winter. Change in nature of activities in which people engage with the change in season.
Thematic Treatment This space reflects winter and indoors through treatment of the floor and walls - Carpet and curtains.
Media Suggetions Artifacts(tools,craft), Panels, Miniature models
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Narrative Episode Kitchen: This space works as binder for all the stories
C
and materials in the other spaces. The space initiates a question about the survival of the people through harsh climatic condition. It plants a seed of curiosity in the visitors.
Educational Objective Understadning how the farm and the kitchen ensured the survival of the people.
Thematic Treatment It presents a scenographic representation of the kitchen.
Media Suggetions Artifacts, Panels
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Documentation of Agricultural Tools for Agriculture Museum
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Dhamlhan (plough)
Rbat
Used for ploughing.
Used for leveling the ground after ploughing.
The tip if the plough is called chaks. It is either made of wood or metal. The handle is called changzum. It has a protective patch on the sides to reduce wear and tear.
Tokse - yua Tokse - yua is used after ploughing to break the soil wherever required. Potato is harvested using this tool. It is made of iron and wood.
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It is also used for making ridges to divide land into smaller plots. Rbat is made of willow wood.
Panka - yua
Khimbo
Kaze
Used for making the canals deeper.
Used for seperating the grain from the plant.
It is also used for removing blocks in the canals.
Seperation is done after drying the crops for two days.
It is made of willow and apricot or walnut.
Then the harvested plants are picked using kaze and thrownin the air. The grain and hay gets seperated in the wind.
Purcha
Ongskhem
Tokse - yua is used after ploughing to break the soil wherever required.
This is a tool used for winnowing.
Potato is harvested using this tool. It is made of iron and wood.
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Zorba
Lhanga
This is a type of sickle.
A utensil used for roasting barley.
Mainly used for cutting alfa-alfa (a type of grass which is grown as fodder for animals). Alfa-alfa is cut two times in a year (July and October).
Bre
Zomba
This a vessel used for measuring the volume of grain.
Used as a wooden tray for keeping grain.
Khal is the traditional unit of measurement.
Roasted barley is kept on it while cleaning.
1 khal is 10 bre.
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Setup used for apricot oil extraction
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Kukri
Chamba
Used as hooks and as noserings for yaks and zos.
A tool used for shearing yak, sheep and goat.
Gyoksni
Phang (spindle)
Used as a hook while carrying load on animals.
Used for spinning wool. Made of willow wood.
Pankotse Used as a base for the spindle while spinning. It is made from the residue of apricot kernels after oil is extracted.
Lakshut Used for making double or triple yarn
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Visitor Map
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Future Scopes The primary tourist trail is suggested to start from Khar, followed by the Statue, then Gonpa. Once both museums are covered, on agriculture andd Khar. the trail continues down the cliffside; starting Kaga’s House, then the Doctor’s house, then the ironsmith, at the bottom of the caste structure.
The Skyur tree: important place to visit since it is the reason behind the name of the village. The associated legend still finds resonance in the school going children as the story of their village, a certain sense of identity and pride is drawn from the story and consequently the tree.
Starting from the top of the hierarchy at Khar (king’s residence) then Gonpa (religious authority). The trail then continues, starting at the top of the caste system, coming down to the Garra living conditions, at the bottom of the system, ending on the ‘argyalam’, the space for all.
Gyalam: text in intro panel of Skurbuchan.
Kaga house: Collapsed, needs restoration and reconstruction like the Munshi House, LAMO centre. Doctor’s house: Good condition; opportunity for a lifestyle museum/ story of Ladakhi local medicine. Garra’s house: Reconstruct his demolished workshop, and bring out their stories which are mostly not listened to.
The Maane Structures along the gyalam: important to bring out the beautiful connection that is formed between the residents indoor, and the villagers walking along the path. It creates a Scenography, and a connection between two separate spaces through the medium of sound, a cheerful one especially during winters.
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THANK YOU
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