Fading Traditional Trades and Crafts Adlis sɣur Jesvin Yeo

Fading Traditional Trades and Crafts Adlis sɣur Jesvin Yeo d anerbaz yettwaqadren meqqren n 2022 Tarbaḥt A' Design Award n Ddheb deg Taggayt n Tnaflit n Afeṣṣel n Umagrad d Umidya Yettwaɣran.

DdhebAmagrad· 2022

Fading Traditional Trades and Crafts Adlis

sɣur Jesvin Yeo

Anerbaz n Tarbaḥt A' Design Award n Ddheb deg Taggayt n Amagrad

659,971

Anerbaz n Urraz Yettwasenqden

Senqed Addad n Urraz i #140455

Rzu ɣer usmel Wali deg A' Design Award Tabḍert n tɣamsa Tanecḍa n wammud

Initen

Afeṣṣel

Ɣef Fading Traditional Trades and Crafts Adlis

Adlis-a yesseqdac taẓuriyt n usefrek s tlata n tiseddi akken ad isekles yerna ad d-yessken ifallen iɣebben n leqdic iɣezzfen s tmuzziɣt sɣur ineggafen iqburiyen n Singapour, seg tifluka n udrag n lkaɣeḍ d ifeggagen ihendawen ar isebbaḍen s yiẓṭaḍen n Peranakan. Isebtar ikuluren ttmettalen-d asali d uɣelluy n tiẓuri tiqburiyin, seg wasmi tebda teɣelnawt tagezmi-ines n usnerni (abuḥku) ar tallit-is tawraɣt (awraɣ) sakin yettfaki s lexlax (amellal). Lkarit n tluswin timezzayin yerna-d i yimeɣriyen akken ad ceyfen isebtar yerna ad afen tiẓuri yeṭṭfen n uzref aqvan araɣlan n Singapour, acku d nukkni imdanen kan i yezmer ad t-nḥader, ad t-nɛawen yerna ad t-nerr-id.

Asmekti

Ɣef Tarbaḥt A' Design Award n Ddheb

Fading Traditional Trades and Crafts Adlis d amerbaḥ n Tarbaḥt A' Design Award n Ddheb, tagmat tuffirt i yisnulfa n umezwaru yelhan s waṭas. Imerbaḥen n Ddheb d isnulfa d imaynuten d imeqqranen. Fading Traditional Trades and Crafts Adlis ad d-yefk lqima ur nesɛi amgarad, ad yeǧǧ ddunit tennuɣ.

Deffir n ufeṣṣel

Tagrurt n tɣamsa

Ismawen n terbaɛt, iferdisen itiknikanen akked telɣut i d-yefka umeṣṣufeɣ.

Taɣara Tasuft: What makes this book unique is the use of the 3D embossing technique, not just embossing, to highlight the intricate details of the works meticulously crafted by traditional Singaporean artisans, from dragon boats to Peranakan beaded shoes. With the pastel chalk, the book encourages reader engagement by colouring pages to discover the lost art of our ancestors, as only we humans can help safeguard, support and bring attention to the significance of this intangible cultural heritage.
Tigejdiwin & Akemmus: Book Box: 145mm (width) x 305mm (height) x 52mm (thickness)
Book Box Sleeve: 540mm (width) x 220mm (height)
Book: 140mm (width) x 298mm (height) x 40mm (thickness)
Book Sleeve: 530mm (width) x 298mm (height)
Inside pages (accordion fold): 4350mm (width) x 290mm (height)
3 Hard Covers: Inside Cover, Front and Back Covers
Tibzimin: Traditional Artisans, Traditional Crafts, Cultural Artifacts, Intangible Cultural Heritage
Tasnakta n Ufares: The making of this book explores how to combine traditional book forms with new technologies, make traditional book forms more interesting through unusual structures and visual stimuli, and push the boundaries of book design. The book is of significance to the design field because it not only records the traditional crafts for future designers to explore and contribute to the local craft landscape but also examines book design as a form of vanishing traditional craft.
Asewḥel n Usnulfu: The project challenges were facing the covid-19 pandemic and the difficulty of making 3D embossed plates. Production of the book was delayed for 6 months due to the intricateness of the artefacts and further halted for 8 months due to the spread of the coronavirus. The team worked closely with the production houses to ensure things could move forward smoothly, and we are grateful that all challenges were managed well in the end.
Anadi: Given the scarcity of available resources, the approach included analysing oral history data collected by the National Archives of Singapore under the Vanishing Trades project in the 1980s and conducting fieldwork with current and retired artisans to understand the current situation and future substantiate the findings. The aim of the project is to document Singapore lost or vanished traditional crafts so that future generations can learn about them even after they disappear.
Aseḥbiber: Working with traditional artisans, I learned that when our ancestors came to Singapore in the 19th century from Malaya, China and India, they brought their values and livelihoods with them. These livelihoods include various forms of traditional crafts that have largely enriched Singapore cultural heritage. Thus, it is essential to record these crafts, some of which have vanished or will vanish within the next 20 years, and trace their place to the roots of their meaningful beginnings.
Tanzagt n Usenfar: The project started in May 2015 in Singapore and finished production in December 2021. The book is on sale from March 2022.
Tanila n Umahil: The colour pages of the book symbolize the rise and fall of traditional crafts, as the industry begins its developmental period (dull colour) to its golden age (yellow colour) and gradually fades (white colour). The pastel chalk is attached for readers to shade the pages and discover the lost arts of this intangible cultural heritage of Singapore.
Ibrivan: Copyrights belong to Jesvin Yeo, 2021
Igmamen n Terbaɛt: Jesvin Yeo
Alvin Ng.
Imsuren n Tugniwin: All images: Photographer Victor Gui, 2021 and 2022