Who are my stakeholders

First, I made a list of which area will be related to my stakeholders, then I started to reach out to talk about my ideas, my intervention plans and here is the draft of who responded to me in the past over two months and this could be a good start.

  • TEXTILES FACTORY

SHUKUN DUAN, the owner of Puzhen Zha-ran Textile company in China

HANMIN ZHANG, the owner of Lanxu Zha-ran Textile company in China

MAZDAK KHOSHDAMAN, Textile manufacturer in LA TEXTILE

  • DESIGNERS

AGNE JONYNAITE, the founder of Uped workshops

Fanglu Lin, the designer of Beijing Zha-ran Culture&Arts, ltd

  • TEXTILE EXPERTS

WENDY GARRITY the owner of Textile Trails

Educational Agency

Baiyu Wu, Yunnan University

  • FASHION CRITICS

MATT TRUEMAN, an arts journalist and theatre critic

ZARA KORUTZ , the senior account executive in The Washington Post, specialised in fashion critics

  • WEBSITE

LISA GREGG, the founder at LivingxLG, Limited

YERETH JANSEN, the founder at Gokunming.com

  • GOVERNMENT

Dali local government

Yunnan Provincial government

How to make the intervention happen

After gathering the materials about Zha-ran, I’m planning to use this project to arouse people’s attention to rethink about the traditional textile art which we are neglecting these days.

I would like to build up a platform to present the beauty of Zha Ran in a modern way and gain more popularity of this traditional textile art around the world.

And I see this project as a long-term and sustainable project which I will keep making efforts to make progress. At the end of the course, I hope I can gather some certain number of stakeholders on board as a team to work on this project continuously after and bring positive changes for the traditional textile art forms.

How to make Chinese tie-dyeing ?

After showing what is zha-ran, how zha-ran looks like, I decided to move further to show the process of how to make tie-dye towards our young generation.

Handmade zha-ran needs a long time to produce.

The process can be repeated several times to achieve the best results, and the effects could be vary which would depend on the quality of the fabric, pattern designs, dye density, temperature and time. So each tie-dye product is unique, even if made by the same craftsperson.

They need to collect some Radix Isatidis roots (Banlangen in Chinese). This root is a Chinese medicinal herb which can be used to dissipate excess heat from the body, remove toxic substances and diminish inflammation and detumescence. 
Then they need to ferment the Banlangen and produce the indigo in a vat
Time to design the pattern for the textile
Use a brush to print the pattern out in the fabric
They need to fold and stitch the cotton cloth that the tied part will retain its original colour, while the rest is dyed
Soak the cloth into the water and let it destarch
Put the fabric in the boiling water with the dye for half or one minute
Take them out and cool them for oxidation
Take out the stitches
Use the clean water to wash again
Final step —– Dry it

Finding out What is Chinese tie-dye?

Due to the lack of awareness of zha-ran among young generation, I decided in the beginning of my intervention, I need to prepare all the documents, pictures or videos to show what is Chinese tie-dye, what Chinese zha-ran looks like.

Zha-ran, a Chinese tie-dye, is one of the most traditional textile dyeing techniques which is still popular by the Bai ethnic group people in Yunnan, Southwest China. This skill appeared over 1500 years ago in China and is still used today.

In 2006, zha-ran is entitled to The First Batch of China National Intangible Cultural Heritage List.

In Dali, Yunnan province, there is a place named Zhoucheng, a small village where 99% are Bai ethnic group people who became the main producing place of Chinese tie-dyed cloth, known as ‘the living-fossil of Chinese tie-dye.’

The fabric used is normally white fabric made of cotton or linen. The dye was originally made of natural herbs ,especially with radix isatidis  root (Banlangen 板蓝根 in Chinese)that produce blue colour.

Blue and white are two principal traditional colours for tie-dye in China. In Bai ethnic group, they believe white represents lucky and blue represents hope. So the locals always use tie-dyed cloth for the new-born babies, bride gowns even grave-clothes.

References

1.The Inquiry of the Education and Inheritance system in Dali Zhoucheng Bai Ethnic Group Tie-dye Technique, Lu Zhiyan http://cdmd.cnki.com.cn/Article/CDMD-10635-2010094489.htm

2. The Cultural Connotation of Zha-ran Technique in Zhoucheng, Dal ihttp://www.cqvip.com/qk/81547x/200305/1001325104.html

What’s the Real question I want to ask about

During the whole process of figuring out what’s the question I really want to ask and what’s the concern I really devoted for, I started my point from exploring intangible cultural heritages.

In the very beginning, my question was ‘how to keep the intangible cultural heritages alive in our modern world’. This is a big question and so many items are included. Thanks to my tutorials, I kept rethinking about what is the one item I connected most and there could be a chance if I can make a change.

I kept my research going and I finally realized that Zha Ran, the Chinese traditional tie dye in Dali, southwest China is the one I really want to explore more.

Zha Ran is one of the most traditional textile-dyeing techniques in China, which already has over thousands of years history. But due to the lack of marketing promotion and design innovation, Zha Ran is disappearing in our lives.

Compared with the growing market share of African and Indian tie-dye in this fashion world, Chinese tie-dye definitely deserved more opportunity to earn the popularity. So how to make Zha Ran survive and more popular became the question I want to find some answers.

Tutorial with George

0. PROJECT TITLE (THIS IS VERY IMPORTANT)

1. What: TITLE

1.1 Subject / area / theme

> These are the big words (e.g. creative collaboration, plastic recycling, empowerment, ambient design, sustainability in fashion, inclusivity, accessibility, wearable technology, primary education, cultural exchange, etc.)

Traditional textile sustainability, accessibility & popularity

Research more about organic

1.2 What it is within the subject area that you intend to focus on

> Your subject areas can be broad, so what key elements within your subject topic will you focus on?

The topic will be focused on how to promote Chinese traditional Zha Ran in modern age especially among young people

1.3 What is your ‘How can’ question?

> The question is the most important component of your research. What is your overarching question, that will act as guidance for your action research? The question will naturally develop over time.

How can Zha Ran(a traditional Chinese textile art form) keep sustainability in modern age and have bigger market share among young generation?

Gain popularity — preserving / revive this traditional technique

Creative experiment

Branded what is the one image represents Zha Ran

2. Why: TITLE

2.1 Why is this research project worth pursuing?

> Make sure it has not been done before, through research. It may certainly be a topic that has been explored but how will you tackle it differently?

Nowadays, we pay more and more attention on tradition preservation and Zha Ran is definitely one of the jewels from the crown of history which we need to make more efforts to make it shine.

But due to the lack of promotion and innovation, Zha Ran is disappearing in our lives. Only few craftspeople are still working on Zha Ran in Dali, SW China.

Compared with the growing of African and Indian tie-dye, Chinese tie-dye deserved more opportunity to gain the popularity. So how to make Zha Ran survive and more popular became an urgent and worthwhile topic to do further research.

2.2 Why will it bring positive change to the world?

> Your project will create positive change in the world if there is a need for this change

Zha Ran is one of the most traditional textile-dyeing techniques in China, which already has over thousands of years history. But we could see less and less Zha Ran in our modern use around the world, even in its hometown China.

So how to find a breakthrough for traditional Zha Ran technique in our modern world could bring a lot of positive reflection and sustainable development of cultural heritage protection.

2.3 Why is it important to you?

> Are you passionate about your project and excited to make it part of your life over the coming months?

I used to interview few craftsmen who are still using Zha Ran for clothes production. And when they were talking about the young people who are not interested about Zha Ran and it’s hard to find new apprentice to inherit the technique, I felt the calling of the responsibility to promote Zha Ran and do my best to see if I can make a difference.

3. How: TITLE

3.1 Background research

         a. What books, blogs, online articles/papers will you read? Make a list of these. This list will grow over time

         b. What films, theatre pieces, music performances, exhibitions, talks, TED talks or other interactive things will you engage with? These will differ and change as lockdown restrictions change

         c. User questionnaires (surveys)

1.Securing the past : conservation in art, architecture and literature /

Eggert, Paul

2.Digital applications for cultural and heritage institutions /

3.The future of the past: how the information age threatens to destroy our cultural heritage / Stille, Alexander

4. Heritage: critical approaches / Harrison, Rodney,

5. Made to Stick / Chip and Dan Heath

6. Comparing Research about the Beauty in Form between Fractal and Traditional Textile Patterns / Tang Ying

7. The Inheritance and Development of Ethnic Traditional Craftsmanship of Decorative Arts in Modern Garment Design / Yang Xiao Bing

8. Exploring textile arts: the ultimate guide to manipulating, coloring, and embellishing fabrics.

9. Sustainability and the social fabric Europe’s new textile industries / Clio Padovani, Paul Whittaker.

3.2 Questions that are intriguing and that you would like to answer. These will come up as a result of your research, and you can use these questions to develop interventions, to test with users and stakeholders. Make a list of these….

How many ways can promote Chinese traditional Zha Ran around the world?

What intervention can be used to innovate Zha Ran?

How can we attract young people increase the interest about Zha Ran?

How to branding Zha Ran to make it more popular among young people?

3.3 Users, who is your target user group(s). Think of how to approach them

Young generation

By online approach mostly

3.4 Stakeholders, who are your stakeholders. Think of how to approach them

Textiles factory              Mazdak Khoshdaman  Textile manufacturer in LA

Textile designers             Agne Jonynaite

Textile experts.                Wendy Garrity  Owner of Textile Trails

Art school.  

Fashion critics                  Matt Trueman Art journalist and theatre critic

E-commerce website        Lisa Founnder at LivingxLG

Government                     Dali local government, Yunnan government

3.5 Action research

         a. Intervention ideas (products/artefacts, workshops, other sessions that you would like to pursue`

         b. Small ideas

         c. Big idea

I googled Zha Ran or Chinese tie dye and there are only few materials to show about this technique.

So my intervention plan could be few steps ——

First I would like to build up a website include more information about Zha Ran, such as the film and photos about how to use Zha Ran, and the history, interviews about the craftsmen,etc.

Then based on the website, I would prepare questionnaires and collect feedbacks from target users and stakeholders.

From the feedbacks, I will keep develop the website and reach out to art schools to seek the opportunity of promoting Zha Ran.

After maybe create an online shop for customized Zha Ran crafts to attract more attention and exposure.

3.6 Challenges, make record of these as your project develops

4. What-if: TITLE

4.1 What happens if your project is successful?

I will make it a long-term sustainable project to promote more Chinese traditional arts and make more efforts to make ‘obsolescence’ become fashionable again.

4.2 How will your project be valuable to your users?

Textile is a way to express self-identity. And Zha Ran can be represented as a way of pursuing organic, natural and simple lifestyle which could be worshiping by a lot of young people.

And this project can arouse the attention from young generation to realize the importance of the traditional heritage protection.

4.3 How will your project be valuable to your stakeholders?

Zha Ran can be an exotic option for textile industry and it will be very catchy with the trendy of simple lifestyle. From the market, most stakeholders know about African and Indian tie dye, but Chinese tie dye could be a new excitement to explore.

4.4 Where would you like to be toward the end of your journey?

I would like to make this project into a long-term program that I can keep working on and branding.

What-Why-How-What If

What

When I was applying this major as my postgraduate programme last year, I presented my concerns about the conservation of Chinese ethnic group cultures in my study proposal. And after the study of unit 1 by this course, I learnt if I want to do a great research for my master or long-term project, the first step is I need to narrow down my interest into a more specific question as a good start. Considering the cultural heritage area I’m interested about is involved enormous objects, I would like to pick up textile art area first and address the question as ‘HOW ZHA RAN(A traditional tie-dye textile art form) CAN EARN MORE POPULARITY AMOUNG YOUNG GENERATION IN MODERN AGE ’

Why

Along with the industrialization of textile production and fast urbanization development around the world, the old traditional skills are facing the worst threat or even started disappearing in our daily life. Besides, the cultural preservation is increasingly a topic of the international issue which governments, organizations and individuals paid more attention to. And personally, from the 6 years’ experience as a journalist, I noticed many precious cultural traditional heritages we have for generations are facing tremendous difficulties to survive.  Therefore, I would like to devote myself for this research project and see if I could make any progress for the sustainable development of traditional textile art.

How

I had done the mind map and I’m planning to use secondary research as the key to open the world about Zha Ran and approach the information base such as what’s the situation of the inheritance in Zha Ran skill, what’s the possibility of traditional Zha Ran development, how traditional textile art embrace the modern world attention and etc. Then I will use interviews based on my secondary research to reach out potential stakeholders to talk about potential chances of Zha Ran popularity development. Based on this process and feedbacks, I would like to organize some possible modules to present some ideas and make further testify and progress. In addition, the field research will also play an important role along with this project to receive real outcomes and improvements.  

What if

I’m planning to use this project to arouse people’s attention to rethink about the traditional textile art which we are neglecting these days. I would like to build up a platform to present the beauty of Zha Ran in a modern way and gain more popularity of this traditional textile art around the world. And I see this project as a long-term and sustainable project which I will keep making efforts to make progress. At the end of the course, I hope I can gather some certain number of stakeholders on board as a team to work on this project continuously after and bring positive changes for the traditional textile art forms.

A Proposed Reading List

1.Securing the past : conservation in art, architecture and literature /

Eggert, Paul

2.Digital applications for cultural and heritage institutions /

3.The future of the past: how the information age threatens to destroy our cultural heritage / Stille, Alexander

4. Heritage: critical approaches / Harrison, Rodney,

5. Made to Stick / Chip and Dan Heath

6. Comparing Research about the Beauty in Form between Fractal and Traditional Textile Patterns / Tang Ying

7. The Inheritance and Development of Ethnic Traditional Craftsmanship of Decorative Arts in Modern Garment Design / Yang Xiao Bing

8. Exploring textile arts: the ultimate guide to manipulating, coloring, and embellishing fabrics.

9. Sustainability and the social fabric Europe’s new textile industries / Clio Padovani, Paul Whittaker.

The change I want to see

Since I started to be a journalist, I was always fascinated by the diversity of Chinese cultural heritage. But from my interviews experience, I noticed that many traditional heritages had become obsolescence and disappearing in our lives. So it bring me a question, can we make a better change for cultural heritage conservation?

Nowadays, cultural heritage is affected by numerous degradation processes, caused by environmental factors, anthropic actions (pollution, wrong conservation practice), and microorganisms. Even local and national government’s made efforts to preserve ‘heritage’ most deals are exclusively with physical assets, such as historical sites and buildings – Palaces, temples, churches, mosques, tombs, and similar sites. This is particularly true in countries and regions that have a long history and many historical public buildings. But heritage is more than that. 

But heritage is in fact more than just physical buildings. The true heritage of an area is to comprehensively look at not only the tangible assets, and intangible ones as well. This includes public assets, and private ‘domestic’ assets such as dance, music, art, festivals, dresses, food, and more form part of the area’s heritage.

Based on such understanding of cultural heritage, I would like to put more attention on intangible cultural heritage, such as oral traditionsperforming artssocial practices, rituals, festive eventsknowledge and practices concerning nature and the universe or the knowledge and skills to produce traditional crafts. To narrow down in more specific area, I will make further research about traditional artefact inheritance and conservation.

References:

1.Heritage Critical Approaches, Rodney harrison

2.Securing The Past, Conservation in Art, Architecture and Literature, Paul Eggert

3.INTANGIBLE HERITAGE IN CONSERVATION MANAGEMENT PLANNING:
THE CASE OF ROBBEN ISLAND
, Harriet Deacon, International Journal of Heritage Studies, 2004

4. Heritage Conservation & Regeneration ,FP9 2021-2027 POSITION PAPER,Contribution from ECHOES Cluster

https://ich.unesco.org/en/what-is-intangible-heritage-00003