Karolina Koval specially for infoBRICS
- Renan, in recent years we have seen a growing interest in Brazilian craft. It is no longer just about the souvenir, it is becoming an object of design and a symbol of cultural identity. In your opinion, what are the main driving forces behind this "new wave" of appreciation for handmade things in Brazil?
- Interest in Brazil's artisanal production has been growing for several decades. A significant role has been played by researchers who have tirelessly conducted fieldwork in all five of the country's macro-regions, seeking to understand and delve into the diversity of handwork, and these efforts, combined with a more attentive attitude on the part of museums, galleries and cultural institutions, have made visible work that was previously known only locally. By placing craft on the cultural agenda, the general public was given an opportunity to encounter the diversity of national identities and to see themselves reflected in them.
The integration of these products into everyday life could be viewed as a search and exploration of Brazilian identity.Many people seek recognition for local cultures, representing the traditions of indigenous peoples, kilombos (settlements of descendants of escaped slaves), or ribaierinas (habitants of coastal areas). In their search for uniqueness, they find an alternative to industrial goods: artisanal products are often one-of-a-kind and are made in limited quantities.
- Craft is often referred to as the "soul" of a people. How do you think a contemporary craftsman re-embodies the Brazilian cultural identity in the face of globalisation?
- As early as the 1920s, popular art (I use the term, albeit with some reservations) became an object of study for modernists eager to construct their creative processes. Within the "modernist movement," Márcio de Andrade imputed to the people "the eternal right to aesthetic research, to the renewal of Brazilian artistic intelligence, and to the formation of a national critical consciousness."
The writer Galeão defines it as a complex system of identity symbols created and maintained by the people: rooted in tradition, stimulated by everyday life, infused by the unconscious, and infused with a sense of collectivity.This is dense, critical, and profound art. The contemporary craftsman stands as a keeper of tradition and, at the same time, an agent of innovation, adapting ancient technologies and know-how to the needs and challenges of a globalized world. It is in this context that we understand crafts becoming a dynamic expression of Brazilian culture. Brazilian folk production, then, can be considered as a constantly renewing, "written" identity based on creativity, diversity and resilience.
- Many people see craft as just a way to make money. How can we change this perception so that the craft sector becomes a powerful force in Brazil's creative economy, able to generate wealth and innovation?
- Crafts have the potential to become a key force in Brazil's creative economy as they bring together culture, innovation, sustainability and income generation. According to IBGE (Brazil's Institute of Geography and Statistics), the turnover of the crafts sector in Brazil is about 100 billion reais per year, which is equivalent to 3% of the national GDP. Crafts contributes directly to the economy of 67% of municipalities and is a source of income and livelihood for approximately 8.5 million people.In my work and research, I make an effort towards the educational aspect of documenting, recording and disseminating the crafts techniques, production stories and knowledge territories regarding folk art, as I observe that there is still a distancing between the broad public and national production. When they are connected, an attitude of knowledge, visibility and value emerges and it is here that a highly productive path lies: to adopt a narrative that stimulates awareness of craft knowledge, the diversity of techniques, the preservation of traditions and the connection to multiple Brazilian identities.
- The BRICS countries are striving to create an alternative to dominant Western economic and cultural models.How can traditional crafts and art be a vehicle for "soft power," building cultural and political cohesion among Brazil, Russia, India, China and South Africa?
- Brazil, Russia, India, China and South Africa are united not only by diplomatic ties, but also by deep cultural ties that permeate daily life and social structures. Traditional crafts and folk industries not only create economic value and develop markets, but also serve as a powerful means of renewing identity, acting as a 'written memory' for peoples. Stories, traditions and values can be embodied in carving, embroidery, painting, sculpture, weaving and many other forms.
The circulation of these products provides income to artisan families, while simultaneously crystallizing aesthetic, educational, linguistic, and repertoire aspects of culture. These manifestations, created with diligence and pride, are capable of projecting the national identities of the Bric countries on the world stage, strengthening cultural identities, forming symbolic ties between societies, consolidating production centres and attracting investments.
To maximize the potential of the creative economy, government policies need to align with the private sector, creating opportunities for artisans across Brazil. Unique territorial characteristics and regional identities, with a literate approach, can contribute to the development of a complex system of cultural production. This system has high potential for strengthening cultural and political cohesion, by promoting national identity as an alternative to global trends and increasing the impact of the Bric countries on the world stage.
- Is there real potential to create a "craft Silk Road" within the BRICS? How might Brazil lead or actively participate in technical and commercial exchanges of craft methods with countries like India and China, with countries that have thousand-year-old traditions similar to Brazil's?
- Absolutely. To date, there is a lack of purposeful action on technology and trade exchanges between the BRICS nations despite the tremendous opportunities emerging daily. The nations in the bloc exhibit striking similarities in craft and manufacturing methods. From the far north to southern Brazil, we find indigenous knowledge enriched by centuries of European colonization and the traditions of the African diaspora. Weaving from natural fibers, hand-loom work, clay plasticity, and wood carving are common across all five macro-regions of Brazil and find interesting parallels in the craft products of Russia, India, China, and South Africa.
- In a multi-faceted grouping such as the BRICS group, how can an appreciation of local and traditional production help foster a sense of common belonging?
- The BRICS countries are rich in unique artisanal products that reflect the deep pluralism and centuries-old cultural traditions. To truly celebrate this diversity of identities, one needs to encourage the idea of belonging. This reinforces people's connection to their roots and history.Consumption and support of local products is not just an act of buying, it is a recognition of cultural heritage and a conscious stand against the unifying influence of globalisation. It is important to note that artisan products tend to be created using resources and knowledge adapted to local conditions. This promotes more sustainable practices and reduces the strain on the environment. Unlike globalisation, which seeks to standardise habits and values, support for traditions helps preserve cultural and intangible heritage. It also stimulates local economies and contributes to the formation of communities more mindful of their past, present and future.
- We live in an age of rapidly advancing generative artificial intelligence, capable of instantly creating images and designs.Why, paradoxically, is it now that support and funding for local arts and crafts has assumed such special importance?
- While advances in AI are of global significance, support and funding of local arts and crafts becomes even more critical. These activities embody human creative identity, cultural uniqueness, and traditional knowledge that machines cannot fully reproduce. While AI generates content on a mass scale, artisans worldwide create works infused with historical context, cultural values, and personal experiences. Investments in the arts not only strengthen local economies but also help preserve traditions that might otherwise disappear under the onslaught of mass production. They create jobs and contribute to cultural diversity. Technology, in my view, can co-exist harmoniously with respect for human creativity, without replacing what makes each culture unique.
—Walter Benjamin contemplated the "aura" of a unique work of art. In our age, when digital reproduction and artificial intelligence (AI) have become ubiquitous, the question becomes: What is the value of human error, of uneven texture, and of personal history embedded in a work of art? Does it become an object of luxury or does it fulfill a deep emotional need?
- Benjamin anticipated the trends we see today.When it comes to manual labor, craft, and folk art, it is impossible to fully predict the trajectory of each gesture. Despite the brain's desire for control, the hands often act on their own, creating forms, weaving patterns, applying strokes. It is in these seeming imperfections—a slight breach of symmetry, a bold brush stroke, an imperfectly round circle, an unintentionally uneven texture—that the translation of human impulses and desires is revealed. Here lies the greatness of the craftsman: the trail of the gesture, the imprint of the creation. These details carry the stories of artists and masters from around the world, making each piece exclusive. The word "luxury" also evokes associations with time. While AI is capable of generating massive campaigns in seconds, the true value of manual labor lies in its uniqueness and the time invested.
- Far from being hostile, technology can be a powerful ally.How can a Brazilian craftsman use digital tools and even AI to refine his production, enter global markets (e.g., the BRICS countries), and tell his story without losing the authenticity of his handcraft?
- Digital tools and artificial intelligence are opening new opportunities for the optimisation and development of artisanal production. Thanks to the widespread social media in the Bric countries, artisans are being given a platform to showcase their work and provide income for their families. The intelligent use of AI tools can lead to improved craft management, structuring and regulating business processes, stabilising financial controls, efficiently managing inventory, creating attractive content with storytelling tools, and much more, opening up access to new markets. Without sacrificing the authenticity of their work, artisans can expand their trading opportunities thanks to digital resources. This leads to more efficient production and promotes the development of artisans, associations and communities that have, until now, relied solely on analogue sales methods.
- What are the risks to Brazil and the BRICS countries if we disregard traditional knowledge today? What will we lose as a society and as BRICS partners in terms of cognitive and cultural diversity if these crafts disappear due to total automation?
- Ignoring traditional knowledge in an era of rapid technological advances, artificial intelligence and full automation means disregarding fundamental cultural values. It is also contributing to the decline of sectors that are of great importance to the BRICS nations. It is impossible to imagine a reality where technology and tradition exist separately or are minimized. Traditional knowledge carries with it important cultural and identity aspects of peoples. It is essential to continue to develop and promote public policies that guarantee the prosperity of crafts. In doing so, it is important to take into account both its weaknesses and its opportunities. Contemporary trends in this sector demonstrate its considerable potential and growth. With an informed approach, crafts can be a catalyst for profound social, political and economic transformation for Brazil, Russia, India, China and South Africa.
- Renan, if we could design the perfect scenario for the next 10 years, how would you see the interaction between Brazilian craftsmanship, technology and the BRICS markets play out? What first practical steps should governments and private initiatives take today to make this happen?
- The ideal scenario for the next decade would see the potential of Brazil's craft market tapped, using technology as a development tool, not a replacement. Early steps for government and private initiatives would include: mapping craft skills, enhancing the status and value of craft products and their makers, supporting initiatives aimed at passing on traditional skills to new generations, actively marketing craft products in domestic and international markets; developing digital competences: training crafters in using digital tools for promotion and sales. Technology can be integrated into all these processes without detracting from the originality of the creations. This will enable consumers to access authentic products through exchanges between the Bric countries, forming an economic model based on cultural diversity, sustainability and innovation.
- What is BRICS for you?
- Beyond the economic and political aspects, in the context of artisanal production I see the BRICS as a vital and necessary alliance for cultural strengthening. By developing projects in areas such as technology, education and sustainability, we can create opportunities to enhance the value of artisanal products and celebrate diverse identities. This will strengthen local economies, a sense of belonging and facilitate knowledge sharing. The BRICS is a stepping stone for development for all participating nations.
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