Design education has been on the rise in India since the dawn of the new millennium. Earlier the major stake holding institutes were the National Institute of Design [NID] And the National Institute of Fashion Technology [NIFT]. Probably due to the change in economic policy of India and the development of industrialization and globalization in the field of design. The development of OTT platforms has accelerated the film and video fields, globalization and outsourcing of talent has further boosted the animation industry in India. However, art-based design education in India seems to have lost touch with India’s traditional traditional craft-based industries compared to Japan, China and other Southeast Asian countries. The role model of design education in India somehow confines itself to Western art design. Critics may argue that modern design as an idea originated in the West. Indeed, the difference between art and industrial design came into existence in the post-post-revolutionary period in Europe. It should also not be forgotten that the same industrial revolution brought nemesis to the traditional designs of the Orientals. The Indian craft sector in the textile, ceramic and leather industries is certainly under attack from this modern design. Some crafts may be considered obsolete in contemporary times such as, for example, leather puppets which were the only vista of entertainment in the earlier film era where light, form, music and narrative played a key role.
If one looks at the precedent, Indian art design curricula became one-sided in favor of Western models and more or less Indian policy and aesthetics were noticed. No attempt has been made to redefine traditional thematic designs that may sink into the roots of the tradition. This was the vision directed towards the structure of the educational project of Maharaja Ranjit Singh Gaikwad Institute of Design. For example, film and animation [called as Moving Images at MRID] Students should examine not only the Western animation style but also the traditional shadow puppets and various visual narrative techniques and continue in the conventional way. Naturally a question arises as to why we should keep the theme when the world is moving towards modernity. The answer is that the later modern methods of modernism incorporate the tradition of modernity as opposed to the rejection of the proposed modernity of modernity. Examples can be cited from Japan, China and other Southeast Asian countries.
Maharaja Ranjit Singh Gaikwad Institute of Design [MRID] There are some courses that emphasize the study of diction-themed designs like craft and design where students are urged to explore the craft sector of India and influence the lives of millions of artisans through design innovation. Cons considered India as the largest exporter of textiles in the colonial days and the state of India’s weavers and textile printers seemed to be somehow the way forward for design and entrepreneurial intervention. Another area that has been lacking in design education is the combination of visual arts and region-specific aesthetics. The ease in which people live is conditional by the social environment the sudden change in taste and style cannot be expected; However, there may be structural changes in the future of an educational approach.
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Maharaja Ranjit Singh Gaikwad Institute of Design tested this approach in 2012 when the institute academically adopted a glass craft village called Neohona. Students of all specializations [Accessory Design, Communication Design, Moving Images, Craft and Design, Ceramic and Glass Design] Nirohana visited the village, worked with artisans, made films on their crafts, designed signatures for their shops, designed their business cards, and planned a village map defining artisan workshops and shops. As one craftsman from Ni Ro Hon said, “For the first time, a group of young designers decided to give us something back, rather than just acquiring information and skills from us.”
Named after the previous Maharaja of MRID Vardhana, Srimanta Ranjit Singh Gaikwad only Maharaja Sayajira also emphasized the point of view of the two singers who envisioned an additional role for Kala Bhavan with TK Gajjar? [Now Faculty of Technology, The Maharaja Sayajirao University of Baroda], “To work for craftsmen and the weaker parts.”
Dr. Jayaram Podowal
Maharaja Ranjit Singh Institute of Design [MRID]
Maharaja Sayajira University of Baroda