In August 2014, I had the privilege to collaborate with National Arts Council (Singapore) and Georgetown Festival (Penang, Malaysia) to launch a series of art exploration workshops which use cultural mapping techniques to rethink the format of classroom based craft learning.
Weaving and Binding Pages of History was envisioned to bring participants, particularly locals, closer to where they stay and to discover nuggets of history in their neighbourhoods. These nuggets of information are grouped within an umbrella theme (e.g. nature, history, culture, sports, etc) which also serves as the inspiration for them to create personalised covers and structures for the book.
4 workshops, 2 in Singapore and 2 in Penang were created after a period of research and experimentation with potential book structures and art mediums. These 4 workshops are “Glorious stained glass and tiles in Bras Basah”, “Sacred tree and green spaces in Toa Payoh”, “Stories cast in stone, exploring Georgetown’s Chinese architectural symbolism” and “Penang and its world of spices”.
The format of the premise is straight-forward. Participants are first bought on a guided tour around the neighbourhood, understanding the history and culture of the vicinity. Thereafter, the theme for the day was announced and participants are given some time to collect found objects or raw materials to create their unique book. With the gathered items, everyone heads back to the classroom, discuss what and why they had gathered these objects. Then using suitable art mediums, participant create personalised designs on the covers and the book before finally binding the covers and text block together. Each workshop lasts about 4 – 6 hours and there is nary a dull moment in the workshop as each activity component actively engages everyone’s mind and hands. The required energy and input may be much higher than a typical bookbinding workshop but it definitely doubles the satisfaction level as well!
By engaging participants to immerse in the community, the community will reciprocate by showing its vibrancy. Learning becomes interactive and the workshop becomes a two-way flow of information between the instructor and participants. Without venturing out, participants would not have realised the potential of their surroundings as a form art inspiration and likewise, the instructor would have underestimated the potential of each participant in creating works of art within a short time.
These four workshops have truly opened my eyes to the potential of using cultural mapping techniques even in 1 day craft and bookbinding workshops. In fact, I believed strongly in the potential of art as a community changemaker that I even gave a talk on the potential of simple art and craft as a way for everyone to create “mental maps” and “visual time capsules” for their surroundings!