The Handmaid’s Tale, an award-winning television series, may be about a fictional “alternative reality”, but the show’s creators have gone to great lengths to ensure that references to themes such as climate change, human rights abuses, and refugees, are as real and accurate as possible, by collaborating closely with UN experts.
The TV version of The Handmaid’s Tale is based on the classic 1985 book of the same name by acclaimed author Margaret Atwood, about a dystopian USA, renamed Gilead, ruled by a brutal theocracy in which people, particularly women, have been stripped of their rights.
In the story, an environmental disaster has led to most women becoming infertile, and the small number who are still able to become pregnant are forced to become handmaids, sexual slaves who are raped by the ruling elite in order to provide them with children.
Atwood frequently said in interviews that everything described in the book is happening, or has happened, somewhere in the world. The producers of the TV version, mindful of the status of the book’s legacy, have been careful to take the same approach.
Playwright Dorothy Fortenberry is one of the writers of the show. She told UN news that, whilst the book reflects 1980s concerns about the environmental impact of nuclear incidents, and acid rain pollution, the writing team felt that it was important to make climate change the backdrop to the societal collapse that brings about Gilead.
“We researched how things like higher temperatures and plastic pollution could affect fertility (we’re currently seeing a decline in fertility worldwide), and the emergence of climate-related diseases. We wanted the series to feel as grounded in reality as possible.”
One of the ironies of the show is that the authoritarian rulers of Gilead have successfully dealt with many aspects of climate change, banning fossil fuels, driving in electric vehicles, and ending plastic pollution.
“Climate change is an event, it doesn’t have a politics, and it’s not necessarily the case that accepting and dealing with climate change would lead to progressive policies: a pro-environment movement could also be fascist, anti-immigrant and repressive”.
Ms. Fortenberry and her colleagues also wanted to ensure that the many human rights issues raised in the show are realistic, frequently discussing the issues with Andi Gitow, who runs the UN’s Creative Community Outreach Initiative (CCOI). Ms. Gitow said that the team took great pains to get the details right.
“We started with open-ended conversations, where the team would ask, for example, what it’s really like to live in a conflict zone, how does international law work in practice. Then I brought in experts, including someone who lived in Aleppo, Syria, and an international human rights lawyer”.
“The team wanted to know what refugees experience emotionally and practically, and how refugee centres operate. For example, when Emily, one of the characters, crosses the border into Canada, she’s met by an all-female team who tell her that she’s safe. And when Hannah (the lead character), is reunited with her daughter, it’s not the usual Hollywood reunion: there’s a mix of fear, anger and misunderstanding, which is what can often happen in the real world”.
The power of drama
The international success of The Handmaid’s Tale has meant that millions of people are now aware of the issues contained within the drama, often for the first time.
“Drama is one of the most powerful mediums”, says Ms. Gitow. “Of course, reports, documents and meetings are very important. But drama give you the ability to reach a mass audience who might not otherwise be exposed to these issues, and might not otherwise seek out information about them”.
However, the writers strive to avoid pushing a particular agenda, and focus on telling strong stories, with complex, three-dimensional characters coping with extraordinary circumstances.
“If you want to get across a certain point of view, it’s better to write an op-ed”, says Ms. Fortenberry. “That said, we consciously show normal, middle-class women in the US going through some of the experiences that are happening right now to women elsewhere in the world. By doing so, we’re bringing specificity and humanity to some of the horrors taking place, from climate change to gender violence. When you see the effects on one person, you can relate to them”.
“With a drama, you see issues lived and played out by a character you connect with”, adds Ms. Gitow. “You think of yourself, your mother, boss, or best friend in that situation, and it becomes very real. You imagine how you would react in that situation. The news can give you detail, but it can’t do that”.
UNGA76: Giant eco-friendly artwork set to inspire world leaders
A new 11,000 square metre ‘ephemeral fresco’ created by Swiss artist Saype, has set the stage at UN Headquarters in New York, to welcome world leaders for the General Assembly High Level Week. It shows two children building the world of the future using origami, highlighting the participation of young people.
“World in Progress II is perfectly suited to our time and place. First, it is, in all senses, a big picture. Both its execution and its subject are monumental and ambitious. We have to take several steps back, just to view it in its entirety. Then we understand that it shows two children, designing their ideal world together”, said on Saturday UN Secretary General during the unveiling ceremony.
Antonio Guterres explained that, just like the artwork, the United Nations’ mission extends far beyond what we can see around us. “Most of it lies out of our view. Our work is multilateral, and multi-generational. And each of us plays an essential part in creating the whole”, he added.
Guillaume Legros, or “Saype”, an artist name inspired by the contraction of the words “say” and “peace”, is famous for its invention of an eco-friendly painting process. His special technique allows him to create huge frescoes directly on the grass.
“In two weeks, there will be nothing left due to the regrowth of the grass. This makes the work disappear, even more than the rain”, he explained to UN News, adding that he spent more than a year finding the right pigments for his ephemeral art.
Saype had already shared one of his creations at UN premises before. Last year, World in Progress I was unveiled during the commemoration of the UN’s 75th anniversary in Geneva, Switzerland.
“In the centre, there is a dove that symbolizes peace. The basic idea is that on the one hand when talking about children, we ask ourselves what responsibility we have towards them. But, on the other hand, they are the ones who will have the world of tomorrow in their hands. This means that we must really learn to live together in a world that is also hyper-connected”, he said.
A call to world leaders
For the UN chief, the children depicted in World in Progress II are designing our shared future.
“This year’s General Debate will take up this theme, focusing on the world we are building together. My recent report on Our Common Agenda recommends new ways for today’s decision-makers to better serve both young people, and future generations”.
Mr. Guterres said he was hopeful that world leaders will take inspiration from Saype’s art to consider how “we can look beyond our immediate surroundings, while respecting nature and our planet”.
Bengal’s Thriving Cotton Handloom Tant Textile Crafts Looming
India being a diverse nation endorses and nourishes indigenous ethnic crafts. Every region of India has to offer thriving cultural heritages, a few of those receiving the attention of the mainstream population, while several are failing to do so. Once glorified Bengal’s Handloom Tant Textile Crafts falls into the second category, as it’s lost the place to be under the spotlight. Even though “Every Handloom Tant Textile Crafts has a unique story to tell—as it is inheriting one of the finest and ancient weaving mechanisms that sprouted in nowhere other than Bengal. Dating back to the 15th century and leaving remarkably earliest trace from Nadia District of West Bengal Handloom Tant Textile Crafts received Royal patronage and retained popularity throughout centuries. Its uniqueness lies in design which mostly includes the depiction of ancient Bengali cultural influences and reflection of Bengali flair. In that sense, Handloom Tant Textile Crafts are very much connected to the soil of Bengal and utterly reflects sustainable, indigenous initiative within the millennials weavers of Bengal, who still feel connected to the ancient essence.
The word ‘Tant’ indicates the cotton-based Handloom Textile Crafts, includes Handloom weaved Textiles including Saris, Cloth pieces, Dupattas, Bed Sheets etc.
Shantipur of undivided Bengal, now in Nadia district of West Bengal having earliest record of Handloom Tant Crafts weaving back to 15th century. It remained dominant cultural tradition from 16th to the 18th century and received extensive royal patronage along with the world-famous Muslin and Jamdani Sari of the same genre. In 1947 after the partition of Bengal, a hefty number of weavers migrated especially from Tangail Bangladesh to India and received rehabilitation in different regions including Phulia, Shantipur. Weavers bore their lineal Handloom Tant Textile weaving Crafts with them. Residual weaver communities got settled in the Hooghly and Bardhaman regions of West Bengal. Since then, each region has developed its signature style.
The weaving Technique
Handloom Tant Textile Craftsare woven with locally produced Bengal cotton. The kind of fine handspun yarn being used for Weaving of Handloom Tant Textile Crafts once applied in weaving soft, feather-light Muslin and Mulmul textiles that have been exported and adored globally for ages. The fineness of weaved cotton depends on the yarn quality and it is on the yarn that the textile is fine (combed cotton) or coarser (regular cotton).
Cotton being deftly woven to the thread is further being woven by craftsmen to Tant Textile. It is customary to use shuttles. Though nowadays handlooms have largely been replaced by power looms to weave Tant Textiles, which compromising the quality of Tant Textiles pushing environment-friendly, electricity-saving Handloom on the verge of extinction.
Popular motifs in use
The most popular Handloom Tant Textile Crafts product is Sari. The handloom Tant Textile crafts products other than Sari also depict motifs like Sari. A quintessential six-yard Tant Sari is distinguished by a thick two-to-four-inch border and a decorative Aanchal. Weavers use fine cotton yarn to manifest a variety of floral, paisley, and artistic motifs, attached to the culture of Bengal. Some of the most adored time-honoured motifs of West Bengal’s Handloom Tant include bhomra (bumblebee), tabij (amulet), rajmahal (a royal palace), ardha Chandra (half-moon), chandmala (garland of moons), ansh (fish scales), hathi (elephant), nilambari (blue sky), ratan chokh (gem-eyed), benki (spiral), tara (star), kalka (paisley) and phool (flowers), etc. Apart from these regional trends are being followed.
Why Handloom Tant Textile Crafts losing the interest of the mainstream population and what are the way forward?
Because of the advertisement and marketing industry the youth generations are mainly inclined towards high-shine clothing, heavy silks and zari, ignoring or being unaware of clothing science and technology. Handloom Tant Textiles, in comparison, is a modest, soothing clothing based on environment-friendly technique which add real charm to Tant. Elderly people are not even aware of the positive aspects of Handloom Tant Textile Crafts, due to no such promotion leading the Crafts to evade.
What is in particular in Tant to rethink its revival?
Handloom Tant Crafts comes under the range of heritage textiles of West Bengal. Sari-loving Indian women would certainly like to acquire collection of handloom saris from across India. While Handloom Tant Textile Sari would certainly give the blended feeling of heritage and comfort. Most of the Sari-wearing Indian women find themselves particularly attached to Bengal’s Handloom Tant and Jamdani Sari. Jamdani Sari belongs to the same genre of Handloom Tant. Tant Jamdani from Dhaka and Shantipur is exceptionally lightweight, characterized by intricately designed motifs that seem to float on the surface of the translucent ultra-fine textile, giving it an almost mystical grace in appearance.
Moreover, Handloom Tant Textile Crafts are comfortable to wear in tropical climatic zones of the world. Tropical, subtropical climates of the Indian subcontinent are exceptionally fine to wear and use such textiles. While most of the raw material being used and the technology being followed in Handloom Tant Textile Crafts is nature friendly and indigenous for the subcontinent. Revival, then on the restoration of the lost glory of Handloom Tant Textile Crafts of Bengal will certainly promote environment-friendly sustainable textile technology basing on the growth of the home-based cottage industry of West Bengal. Employing Indian youth in the process may revamp the initiative in the way Handloom Tant Textile Crafts would get a modern outlook and that will generate youth entrepreneurs to promote indigenous industries and a lot more positive things would happen in this row.
How important the present time is to preserve Handloom Tant Crafts? what could be the way forward?
As an economic industrial activity, the ‘Tantshilpa/Tant Crafts’ (the art of weaving handloom Textiles) is second only to agriculture in providing a livelihood to the people of certain regions of West Bengal. Ravaging the hope of business in Bengali New Year on April 14, 2020 the ongoing pandemic and ensuing lockdown have led to insurmountable losses to Textile Industry. Handloom Tant Textiles also facing a tremendous challenge for decades losing the interest of younger generations owing to its traditionalism and maintenance cost. The need of the hour is to activate retail for existing stock using e-commerce and involving youth to regenerate the work chain and boost business. The genesis of interest towards such heritage and endangered craft like Handloom Tant Textiles can restore the sentiment and attachment of weavers’ communities.
Organizing regular workshops with the weavers offering creative concept and textile design expertise in developing an ongoing collection of modern Tant saris and textiles that can bring the Handloom Tant Industry on-trend. While Tant is a versatile and comfortable fabric especially suited in the climate of India and considerable places of the world and also lends itself well to soft furnishings home decors cum comfortable garments.
Classified Handloom Tant Textile Crafts are being picked by authentic celebrities, dignified women. To revive the Indian Economy in the post-pandemic global crisis, promotion of indigenous Industries based on the authentic handmade, handloom, and traditional crafts are the way out, which is also environment friendly. ‘Make in India’ and ‘buy local’ is more relevant now than ever before, as each locally-made purchase directly supports indigenous industry, regional to global work circle, in turn, funds its makers, that is, the craftsmen/women in every level.
The hands that nourish tradition, indigenous crafts need to be celebrated. Direct connection of remote areas Handloom Tant Textiles weavers with well-structuredHandloom Tant Textile Craftswork chain is the way forward that less known regions areas of West Bengal like Santipur, Phulia, Nadia, and Dhaniakhali get counted in the global map of Textile industry representing the glorious Handloom Tant Textile Crafts of Bengal.
Copenhagen named UNESCO-UIA World Capital of Architecture for 2023
The city of Copenhagen has been officially designated as World Capital of Architecture for 2023 by the Director-General of UNESCO, Audrey Azoulay, on the recommendation of the General Assembly of the International Union of Architects (UIA).
This decision is in keeping with the partnership agreement established between UNESCO and the UIA in 2018, through which UNESCO designates the host cities of UIA’s World Congress as World Capitals of Architecture. “We are very happy to see the torch of the World Capital of Architecture title pass to Copenhagen from Rio de Janeiro,” Audrey Azoulay said. “The inaugural World Capital of Architecture in Rio was a real success, underlining the important role of urban planning, notably in the pandemic context”, she noted, adding that “Copenhagen will build upon Rio’s achievements, by continuing to show the way in which architecture and culture can respond to the challenges of our time, especially in the environmental field.”
UNESCO and the UIA launched the World Capital of Architecture initiative to highlight the key role of architecture, city planning, and culture in shaping urban identity and sustainable urban development. Every three years, the city designated as World Capital of Architecture becomes a global forum at the forefront of discussions on contemporary urban planning and architectural issues.
As the World Capital of Architecture for 2023, Copenhagen will host a series of major events and programmes on the theme “Sustainable Futures – Leave No One Behind.” In cooperation with the Danish Association of Architects and various Nordic professional bodies, the municipality will examine how architecture and urban design contribute to meeting the 17 United Nations Sustainable Development Goals.
From 18 to 22 July 2021, Rio de Janeiro will host the World Congress of Architects online. Following Copenhagen in 2023, Barcelona and Beijing are the two contenders looking to claim the World Capital of Architecture title in 2026 and host the next World Congress. The official decision will be made later this year.
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