Maker-Centric Learning Through Handicrafts
> This is a project done as part of my Undergraduate Pre-Thesis.
> Duration: September 2021 - December 2021
> Tools used: Miro, Figma, Adobe Illustrator, Adobe Photoshop
> Skills: Design Research, Interviewing, Systems design, Workshops design and facilitation
ABOUT THE PROJECT
How can we design an intervention for the Indian education system such that maker-centric learning can be encouraged in the teaching of the mainstream curriculum?
How can we provide income opportunities for artisans while creating awareness about local handicrafts among school-going children?
The disruption by the spread of Covid-19 is being felt in all aspects of life especially considering the population density of India. The change, which was thought of as an impermanent phase, lasted more than the expected duration. The crisis introduced new circumstances forcing us to think fast to Innovate & Design. There is a need to re-orient the disoriented relationships through Design intervention at the individual & community levels, in both urban & rural settings.
The aim of this project is to re-imagine human-technology relationships for the post-pandemic world. This project looks at how maker-centric learning or practical/hands-on learning can be encouraged in Indian schools with the help of teaching local Indian handicrafts.
WHAT I DID
This is a solo project. I conducted field research and followed the design thinking process in synthesising research, drawing insights, brainstorming, and ideating. I defined and designed the proposed systemic change. I also worked on designing and facilitating a workshop for school children.
FIELD RESEARCH - IMMERSION
To begin, I approached artisans and craftsmen practising different arts to understand how the pandemic has affected their practice, what measures they have taken to adapt to the post-pandemic world, their relationship with technology such as phones, video calls, online payments, and lastly, their view on teaching handicrafts in schools.
I spoke to weavers settled in Yelahanka and pottery and clay craftspeople settled in Pottery Town, Bangalore. The research was conducted by spending a day with the artisans, trying to learn their craft, understanding their business, and through candid interviews.
UNDERSTANDING THE CURRENT SCENARIO
Mapping the ecosystem around the education and the handicrafts sector. This map does not take into account the pandemic and only looks at the different connections that are already established within the system. This map was made based on the understanding of the current scenario done through expert interviews both during the exploratory stage and during the focused research stage.
SECONDARY RESEARCH MAPPING
Doing more focused research in the area of learning theories to understand how best can a learning experience be created for children. These include - the theory of constructivism, the theory of experiential learning and the theory of cognitive development concerning schools, teachers, children, and learning.
Further, looking at craft education in India, how curriculum modification can make a difference, and technology currently available and in use by the Indian education system, such as digitally available textbooks by scanning a QR code.
DESIGNING THE WORKSHOP FOR CHILDREN
Concept
The idea is to have local artisans attend schools and co-facilitate classroom sessions with school teachers. The students will be taught mainstream subjects through practical/hands-on learning methods that would be taught through handicrafts. For the scope of this project, I have chosen to narrow down the reach to pottery and clay works as the local craft and have chosen the subject of mathematics. The course content should be co-created by the artisans and the class/subject teachers.
For the workshop's design, I worked with a school mathematics teacher and a potter to define the activities, plan the timings for each activity, what handicraft technique could be taught to explain the math concept, and what math concept could be taught using the craft technique.
DESIGN OF EXPERIMENT - GUIDELINES FOR CONDUCTING WORKSHOP
The design of the experiment was clearly written to keep all instructions in place on how to conduct such workshops. The guidelines include the materials required, instructions for setting up the workspace, how to facilitate an online workshop, how to facilitate an offline workshop, duration, planning the content and designing activities, workshop details, and lastly, the evaluation criteria.
DESIGNING COURSE CONTENT
Taking the "Visualising solid shapes" chapter from the CBSE class 7 textbook as the chapter for teaching in the workshop, I started by preparing a booklet that is divided into activities that students are required to follow as they are being taught by the workshop facilitator.
OFFLINE
CONDUCTING AND FACILITATING THE WORKSHOP
The original design of the experiment was planned for having artisans come in on the day of the workshop and teach the class of students. Unfortunately, due to the rise in covid cases, the workshop had to be simulated using certain conditions. I assumed the role of the facilitator (math), and had another person with experience working with clay assume the role of the artisan.
Keeping in mind the importance of having hybrid teaching environments, I have conducted this workshop in two modes - online and offline. In both cases, I have used the same workbook to teach the students. In the guidelines to conduct a workshop, I have defined the specific instructions one must follow while conducting online vs offline.
ONLINE
REFLECTION
As a person coming in from an “urban” social sphere, with the aim to create something meaningful for artisans and children, I realised that I needed to step out of my social sphere in order to understand the nature of others’. Being a designer, I realised it is essential to step out of my own comfort zone to establish a personal connection with the people I am designing for. Interacting with artisans and hearing about their stories was very meaningful to me. Learning about them and their craft practice has shaped my worldview. Being sensitive to people’s time, the environment I am in
and how my presence affects them are things that I have grown to be conscious of.
Another very meaningful part of this entire journey for me was conducting the workshops. I enjoyed every minute of the workshops. Although it was difficult for me to be a teacher in that context, I soon started loving being the teacher. Students’ response and engagement, being told it was “fun and exciting” made that experience all the richer for me. I was
part of the workshops not just as a role that I need to play but to actually enjoy myself in the process as well. Being told “I wish my math classes were taught this way” at the end of the workshop was very satisfying for me as the designer.
My overall journey in this project has been one of a kind, one that I will remember forever. The learning I have had are meaningful in shaping me as an aspiring human-centred designer. Design research and social impact design are areas of interest to me, and I am glad that I was able to work on a project that fits both of these categories.