Understanding The Interplay Of Fabric Materiality And Belief In Botanical Dyeing: A Cross-cultural Exploration

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Grounded in the belief that the Nepalese approach to blending myth and fact is a profound departure from Western thinking (Dunsmore 1993), this study aspires to contribute to our understanding of how botanical dyeing, as an art form, is deeply rooted in ecological, communal, ethical, and historical motivations, impacts human experiences.

The essence of empathy, presence, and the sublime will be explored through the lenses of botanical dyeing, sacred rituals, and the transformative power of mindful observation. Drawing from phenomenology, autoethnography, archival research, and scholarly insights, this research seeks to bridge the secular and sacred, unveiling the profound connections between textile practice and ritual.

Nepal, as a leading example, is a country rich in biodiversity and sacred practices that exist in harmony (Dunsmore, 1993) a culture rich with narratives of compassion and the sublime. The research will set out through an autoethnographical and phenomenological methodology, to ascertain the essence of materiality and belief, by weaving together the process of botanical dyeing, the observation of sacred rituals, and the profound impact these experiences have on the mindful space. This will be observed and shared through the practices as a textile designer and curator.

IMPORTANCE AND VALUE: This research aims to explore the relationships between materiality, belief and how this presents itself within human emotions. The research focuses on dyeing practices deeply rooted in Nepal’s textile traditions. Within this context the doctoral study holds potential, will uncover connections that enrich and give greater importance to communal, ethical, ecological and historical motivations, which can impact and implement change in social interactions and the global art communities.

Communal: Indigenous and artisanal art communities are integral to the preservation of art and the way of life in terms of history because they serve as living repositories of cultural heritage, historical narratives, and artistic techniques. They ensure that the rich tapestry of human history and culture is not lost but continues to be celebrated, shared, and passed on to future generations. The research will aspire to learn and observe the repetitive sequences of the Nepalese textile dyers and try to establish if these motion repetitions are potentially a nurturing process. My hypothesis is that the integration of these daily tasks for example, may produce a feeling of empathy towards their community heritage of which this study will be able to record and learn from.

Ethical: The concept of interconnectedness is beautifully expressed within the Nepalese Newar dyeing communities, highlighting the connection, between humans and nature. This perspective promotes conduct by encouraging traits like empathy, compassion and responsible environmental practices. Embracing these values can bring about changes, in society and in the field of humanities.

Additionally, the facet of textile design demonstrates a profound capacity for promoting cross-cultural exchange and intercultural comprehension. Delving into the intricate components interwoven within these textile creations offers a gateway to fostering genuine appreciation and an open embrace of diverse cultures. This ethically grounded perspective plays a pivotal role in the establishment of a global community characterized by compassion, wherein the intrinsic worth of distinct cultural practices is acknowledged and held in high regard. (Pradhan, 2002)

Ecological: While this research may not inherently entail a profound ecological transformation, it serves as a catalyst for cultivating a more profound comprehension of the metaphysical imperative underpinning the preservation of an established code of conduct within the textile industry. Considering the pressing climate emergency, it is imperative to devise strategies aimed at conserving the global ecosystem. As aptly underscored by Myers et al. (2000), the climatic fluctuations across diverse habitats, accommodating flora and fauna from various domains, have engendered a biodiversity hot spot of global significance.

The CreativeUEA (UEA. 2023) programme aspires to facilitate interdisciplinary research bridging the arts and the environment, with the overarching goal of addressing the challenges encountered by global communities. Its primary objectives encompass the development of innovative solutions in medicine and the humanities. The dissemination of knowledge to educate and empower the upcoming generation.

EXISITING LITERATURE AND DEBATES: This doctoral research will primarily be grounded in the examination of the Newar community of Nepal, which resides in the vicinity of the Kathmandu Valley. Nepalese botanical dyeing emerges as a spiritual practice, harmonising Buddhist and Hindu influences within a shared sacred realm. Creative pursuit transcends tangible life by intertwining the agentic nature of matter with profound spiritual tenets. Engaging nature as an advocate for all that is sacred, will engage a dynamic interplay with human agency, echoing the principles of both Buddhism and Hinduism. In this practice, the interwoven threads of spirituality and materiality form a vibrant tapestry, blurring divisions and redefining artistic expression. (Pradhan, 2002)

A thesis by Kate Pickering (Goldsmiths University, 2017) explores the opposing roles of materiality and belief. Traditionally, materiality and religious belief are perceived as opposing forces. However, the convergence of spirituality and materiality finding resonance is challenging. In a globalised capitalist society, the word “compassion” does not equate. This emerging paradigm rejects a disembodied design, highlighting a need for further exploration. Such new materialist perspectives have reshaped the textile design landscape, reigniting interest in curational dialogues and scared rituals. Western contemporary art has started to embrace the sacred, a research practice of Nepalese botanical dyeing bridges the gap by infusing sacredness into materiality. (Pickering, 2017)

I hypothesise that among societal divisions, botanical dye practices reflect the complexity of belief. Nepalese Newar caste, Newar Homa, sacred textile practice, embodies a ritualistic practice that extends beyond that material realm. This art form transcends mere aesthetics it becomes a vessel for compassion, carrying profound spiritual significance. The ritualistic process of creating these textiles invokes a sense of the sacred, as artisans infuse their work with intentions of reverence and devotion. In this context, the act of textile design becomes a conduit for expressing compassion towards both the craft itself and the wider community, fostering a deeper connection between the sacred and the tangible. (Payn and Witzel.2015)

Expanding on the larger theme of empathy, this research will be expanding upon the definition by Cupchick, Stamatopoulou and Lang. 2019), “presence” is a moment of heightened awareness, where one is fully in tune with the present. By “compassion” define the emotions and motivations that arise from a life characterized by acts of kindness and empathy. And lastly by “sublime” the most powerful form of aesthetic experience, combining elements of fear, excitement, terror and awe. (Cupchick et al.2019)

Their study focuses on the exploration of the perceivers’ experience of religious icons. The article delves into the intricate dynamics of weaving in contemporary Andean communities, shedding light on their evolution to facilitate the coordination of daily activities within an emerging biocultural landscape. In contrast to previous constructivist epistemological approaches in operational studies, this article embraces an alternative perspective. It emphasizes that technical practices derive significance from their integration into the cultural and existential fabric of these communities. Furthermore, it explores the intriguing concept that textiles are perceived as living entities within this context.

The research will take inspiration from Gareth Hudson`s autoethnographic project, "Was Beautiful and Nothing Hurt" (2015-2016), which explores the sublime through emotion-evoking interactions in fieldwork. Hudson`s work inspires me to critically analyse, induce, and recreate these conditions in curatorial spaces, offering a unique perspective for the doctorate’s potential outcomes.

Nepal`s landscape hosts Buddhist temples interwoven with sacred rituals, illuminating the fusion of ancient practices with contemporary beliefs. The doctorate inquiry will centre on the intersection of Hinduism and Buddhism in Nepalese rituals. Supporting this hypothesis, the research will examine the work of how historically, religion and beliefs have laid the foundation for both the imagery and the difference between textile traditions. (Kaur and Gale. 2002).

The Newar caste, guardians of secret botanical dye recipes, occupy a unique place in this tapestry. They coexist harmoniously as orthodox Hindus and Buddhists, raising questions about unity and compassion between these seemingly distinct belief systems. (Pradhan, 2002)

Demonstrating this societal bridge between two beliefs will be the important to the overarching research of tangibility because it is only in observation that the art audiences will witness the intangible aspect of belief. Miranda Anderson (2023), argues that art expands cognition, connecting us with hidden temporal spatial dimensions. Art mirrors our mental faculties and offers fresh insights (Anderson, 2023).

Furthermore, the creation of a truly impactful exhibition necessitates an orchestration that engages all five human senses. David Howes published his research “The expanding Field of Sensory Studies” (Routledge, 2013). Howes states “besides the disciplinary route that we have been tracing thus far, is along sensory lines. Thus, sensory studies can be divided into visual culture, auditory culture (or sound studies), smell culture, taste culture, and the culture of touch.” (Part III, 2013).

Sensory immersion not only operates within the conscious memory of visitors following their museum encounter but also leaves an enduring imprint on societal fabric. (Howes.2019)

Evidencing this approach, The Rubin Museum in New York, orchestrated an exhibition titled "Sacred Spaces: The Road to..." and "The Tibetan Buddhist Shrine Room" during November 2017 to October 2018. A life-sized installation of a Buddhist shrine within the exhibition encapsulated a multi-sensory experience, encompassing sight, touch, hearing, and scent. By reflecting upon Tibetan Buddhist home shrines, this installation facilitated a transformative journey for visitors – a traversal from their personal space into an alternate sacred realm.

PROPOSED CONTRIBUTION: The doctoral journey proposes a new direction for exploration delving into empathetic and sublime experiences within the `secular sacred’ of the afore mentioned Hudson’s exhibition.

Research inspiration from Gareth Hudson`s autoethnographic project, "Was Beautiful and Nothing Hurt" (2015-2016), which explores the sublime through emotion-evoking interactions in fieldwork. Hudson`s work inspires me to critically analyse, induce, and recreate these conditions in curatorial and or dyeing practice spaces, offering a unique perspective for the doctoral possible outcomes.

Furthermore, by reimagining textile techniques pushing boundaries and shedding light on the spiritual dimensions of culture this study has the potential to reshape perspectives in the field of global art and design representation. Moreover, as a disabled researcher my involvement underscores the importance of textile design portrayal models, accessibility and the role of designers, as facilitators of dialogue. This involves amplifying the voices of marginalized designers, curators and communities.

The research has identified numerous exhibitions that have captivated and deeply engaged museum audiences. As a curator and design researcher, my approach places a premium on conveying a societal message rather than solely focusing on the presentation of aesthetic appeal, although the optimal scenario would involve the harmonious convergence of both these objectives.

To summarise this research proposal sets the groundwork for an exploration that aims to unravel the connection between empathy, spacio-temporal experiences and botanical dyeing.

Through site specific observation and reflection combined with archival investigation and a multi-sensory approach to curating practices this investigation seeks to provide insights, into empathy and materiality while promoting inclusivity and redefining our comprehension of community arts, design and culture.

METHODOLOGICAL APPROACHES: Introducing the element of temporal observation to the space in which the fieldwork is observed (spacio-temporal) the witness a moment that is temporary, unstable and passing We are called to hold the passing image within our mind, to be digested and drawn upon in the future.

By exploring the space-specific temporary or ‘spacio temporal’ textile ceremonies in the Newar sacred textile practice, this research will contribute to a deeper comprehension of the intertwined human experiences that transcend the boundaries of time culture and belief systems. In pursuit of presence of the tangible and non-tangible, this doctoral journey aims to unravel the links that unite humanity in its shared quest for meaning and connectedness.

I have chosen an autoethnographical approach which will underpin this research, drawing from phenomenology (Husserl), archival research and my own emotional memories and experiences of empathy and the materiality. These recollections will function as a guiding beacon, casting illumination upon the trajectory within the intricate working installations and elucidating the profound interrelationships that exist between textile practice rituals and the domains of empathy and temporal art. This reliance is predicated on the dualistic nature, inherent in the perception of sensory stimuli—encompassing both the visual and the emotional dimensions.

Employing autoethnography as the guiding methodology, the research aims to delve into a more intuitive understanding and effectively document the experiential journey within the field work. The narrative of this transformative quest is revealed through a series of self-propelled working installations and ritual observational experiences, engaging with the intertwined concept of compassion, the sublime within these spacio-temporal realms.

The research necessitates a period of fieldwork and as a Buddhist, curator and botanical dyer, I will record the Newar textile dyers process as I perform or, if possible, in situ, observe, the ancient ritual of dyeing a Buddhist Lama’s monk habits in red plant, madder.

Alongside the collaboration of the sacred textile collection of the Museum of Kathmandu, The Sainsbury’s Centre of Visual Arts and York St John University, I will propose to show the findings in a curated exhibition, with proposed aim of communicating and engendering empathy and compassion through the practice of slow textiles.