Congratulations to three new craft cities in Iran
The new World Cities of Craft in Iran have been approved by the World Crafts Council: Marivan (Kurdistan) for Klash Stitched Footwear, Sirjan (Kerman) for Shikiri-Peech kilim weaving and Kalpourgan (Sistani-Baluchistan) for handmade pottery. Details of these cities are below.
Klash seems to play an important role in the livelihood of the population and its constitutes the main source of income. The production is dispersed throughout the city and villages. 90% of the artisans appeared to have retirement benefit and insurance. With a high unemployment rate, Klash cottage industry provides an opportunity to earn money necessary for maintaining a household. Klash products are often sold to a middleman who then sells it to markets in Iran and abroad. The city consumes 32% of the product, 26 % is exported to international markets and the rest sold in other provinces of Iran.
The striking white colour of the traditional Klash has a strong association with peace. It also provides a highlight in demonstrations of Kurdish dancing. The city of Marivan features the Klash prominently in its public art and the population demonstrated great enthusiasm when receiving the delegation.
There seems to be a number of areas of potential improvement and innovation, as they are eager to pursue.
The skill is traditionally passed from generation to generation. There is also a government training centre and other private courses.
There were a number of private colleges offering short courses on Klash production. This seemed enough to set the craftspersons up to make the Klash at home. There didn’t seem to be a more formal system would enable specialisation, such as design and marketing, but they are planning to develop this. This could be a path for further development of this craft in the region.
The widespread production of an identical craft product also seemed to offer a rather narrow range of options for practice. The design process could enable new products using the same skills as involved in the traditional Klash. These might be simply new designs on the existing Klash (where authenticity is preserved) or it could be implemented in other items such as hats or jackets.
Sirjan kilim is well known in the local, regional, national and international markets. Sirjan has a local bazaar with 23 shops. The kilim are also distributed for sale in bazaars across Iran. Internationally, they are exported widely, including the Hanover Domotex fair in Germany. 80% of production is directed for export.
The raw materials are sourced locally. This includes the wool from sheep and plants for dyeing. It is a rural and tribal handicraft. The motifs are quite diversified. The most important technique is Shiriki-peech twisted weaving, which is distinctive to the region.
The weaving is mostly done by women. We met a woman of 110 years old who had been weaving for 103 years.
Training is often informal in domestic settings, where the skills are transmitted matrilineally. Free training is also offered for underprivileged women. This 45 day program enables them to get started in weaving. There is also some training offered specifically for children.
There is newly introduced formal education. Students are involved in the research into motifs. The architecture branch of Azad University has established a new two-year certificate for kilim weaving, which has potential to further develop the understanding of this craft. There is evidence of scientific study of motifs.
There is innovation in product design, including tissue box covers, cushion covers, tablecloths, flower holders and backpacks. Some businesses offered clients the possibility of choosing motifs for customisation. There were some innovations in weaving design, including curved lines.
The government plays an important role in the kilim production of Sirjan. It administers weaver registration and insurance. The parliamentary representative informed us that there will be issued a legislation regarding the measures for the protection of crafts and the well-being of the artisans. He promised to send a copy of this legislation.
The government presented a plan for further development. This included specialist kilim fairs locally and in Tehran. They proposed studying potential markets and consumer trends. They would develop measures to increase weavers’ wages by the employees. He promised to update the rules for registration and issue insurance certificate for exported kilims.
Kilim is broadly promoted. There is Kilim Street, Kilim Park, Kilim Museum and Kilim Bazaar-che (mini-bazaar). The museum has been newly established, but it has not been fully developed yet. This could include more documentation process to give visitors a better sense of the craft. The museum has produced also a three volume publication about the kilims of Sirjan.
Pottery is a creative expression of the Baluchi people, exclusively made by women. The skill is passed down matrilineally from mother to daughter. The production is largely domestic. The elderly are involved along with the young people. Women play an important role in this craft and thus boost their status in the village society. Many of the women potters have been successful in gaining an Award of Excellence.
The pottery is partly for local use and also for external sales. Pottery has important cultural value as a continuous tradition. Pottery also has a strong economic value as an important source of income. This pertains both to sales and potential tourism.
The process is very simple and traditional. The women potters still form the work without a wheel. The design motifs are also very traditional, drawn with the tituk stone producing a brown-black colour. There is no glazing involved. The only non-traditional element is the kiln, which is powered by diesel. The clay is sourced locally and processed in the village.
The women also made elaborate embroideries using the susandozy technique. Meanwhile, the men are involved in basketry.
The people are enthusiastic to keep the tradition. They see it as a part of their culture since time immemorial. There is some innovation in form, but the basic tools, techniques and decoration remains almost the same.
The government plays an important role in supporting this craft. They promote tourism through extensive roadside signage to guide people to the village from Zahedan. They also offer insurance for craftspersons, though the potters hoped that this coverage could be extended, which appears to be planned. The government encourages and supports technical training. It also assists with facilities and improved the working conditions.
Water seems to be a challenge for the surrounding region of Kalgourgan. This is an issue that needs to be considered for the future sustainability of the village.
The pottery is sold at a weekly market in Kalpourgan. These local sales are relatively seasonal. Nationally, they participate in most of the ICHTO exhibitions. Products are also sold for national distribution through middlemen. The village has three businesses for this purpose. The monthly income for the artisan was reported as US$250.
Kalpourgan can be considered a “living museum”. Visitors can witness not just the traditional works but also the lifestyle that underpins them.
