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Please follow Dianna B Designs on Pinterest!
One of things I find so rewarding about working with Made By Survivors is the opportunity to witness the many wonderful attributes of the human spirit. Not only do I see unbelievable changes in the exploited women who create our handmade jewelry, but I get to see incredible acts of generosity from people who support our fair trade jewelry programs.
Recently, I just returned from Jayne Redman’s beautiful new studio in Portland, Maine. A few months back, she put forward an amazing opportunity for me to come to Maine and learn a jewelry technique that will help drastically improve our production of artisan jewelry in India. Jayne put forth this amazing offer immediately upon hearing about our programs, I’m talking somewhere around minute two; a truly selfless act as the offer was a donation not only of her time and precious knowledge but also materials.
This low-tech technique, making blanking dies from tool steel, is one of Jayne’s teaching specialties and the cornerstone of her current line. For Made By Survivors, the technique will allow us to hand cut a pattern and punch the design rather than hand saw each, individual design which is laborious. Making blanking dies requires only basic hand tools and no electricity, a major boon for working effectively in India with the constant power outages that can last for hours at a time. This is a huge improvement when making multiples of same jewelry component. Another upside is the jewelry remains completely handmade because the pattern is hand sawed and hand punched using a vise.
For survivors of human trafficking and slavery in our programs, the implications of this new technique are vast. The survivors will be able to move through orders much more rapidly and punching the designs is simple enough for a newbie to do while really feeling they are making contribution. The time-saving aspect will not only allow our metalsmiths to practice new techniques, but most importantly, it will have a direct, positive affect on their salaries as our metalsmiths can produce our handcrafted jewelry more quickly.
I can’t wait to teach the women in our studios how to make dies so we can implement them immediately. Through the generosity, support and love of others, we can continue to improve the lives and empower the survivors we work with, even if it is just a little bit at a time.
Jayne’s site: www.jayneredmanjewelry.com for her current line and workshop schedule
I can only attempt describe how wonderful it is to be reunited with the survivors in our jewelry programs in both, Kolkata and Boisar, India. There is inspirational evolution with both the survivors, and, the program itself, and there are milestones being reached at both studio locations. It’s always such a pleasure for me to be a witness to such things and these are the things I will treasure forever, even the one’s that deliver a bit of backhanded emotional slap to the face.
In our Kolkata Studio at Women’s Interlink Foundation (WIF), everyone is thriving, even the timid and shiest of the shy have come into their own. It’s kind of cool to see the survivor who was having the most trouble making the jewelry and had a lot of household responsibilities at the shelter home, shed those responsibilities because she is doing so well; now she is bossing around the new girls and letting them know what is what. Two survivors are thriving in their personal lives as they are married and we happily and anxiously wait for two pregnancies to come full term. Another survivor has accomplished the “India Impossible” and is actually earning more money than her husband with her supervisor role at the Kolkata Studio. Also exciting was our celebrity visit from Belinda Carlisle, and although the girls don’t know she is a female artisan pioneer herself, we could see her visit gave them (who am I kidding, and us) a big confidence boost. The survivors are also into their second holiday production and are definitely feeling the groove.
Our Boisar Studio at Rescue Foundation is also doing very well. So many girls have really come into their own with jewelry making skills and their creativity is always surprising. They are just that good at envisioning a concept and creating it with the limited resources they have there. There are many more challenges at this studio for multiple reasons: by and large the girls have all been rescued from brothels as sex slaves (one of our survivor students was trafficked from a textile sweatshop of all places, and then spent six demoralizing years in a brothel) and the mental and physical trauma experienced was/is extremely severe. Also, the location of this studio is in a rural place so access to supplies, technology, mail, and even energy are limited. Many of the survivors are still in the process of negotiating the Indian legal system for many reasons and some are in transit going back to their homes in other countries, namely Bangladesh and Nepal. This means they are still living in the past to some degree which must be so difficult. All these factors affect the speed of progression, but the survivors always push forward in spite of it all. That is probably the most amazing part.
The Boisar Studio is exactly month away from their One Year Anniversary, and you can bet there will be cake. This is their first season in production and although we are having some growing pains, it is full speed ahead. All they want to do is perform well and improve skills and their dedication is the proof. Another milestone, we have our first survivor being transferred to her home City of Kolkata, and we have successfully arranged for her transfer to WIF where she will be able to utilize her jewelry skills immediately at our studio there, and start to earn to support her extremely poor family.
Now, for that backhanded emotional slap, which is still a milestone; about 6 Bangladeshi survivors from our program (and about 100 overall from Rescue Foundation) are being transferred to a shelter home in Dhaka, Bangladesh. This transfer releases these girls from the horror that happened to them in India and brings the survivors one step closer to being repatriated with their families if they want to be. Selfishly, I fear I will never see my girls again. That is probably the reality, and I haven’t even processed that yet and totally avoiding it, really. Rather, I am letting myself get caught up in the happy buzz as the girls are hard at work in the studio and then hear their name called from the office (literally, “DEEPA! OH, DEEPA! HEY, DEEPA!) and watch them drop everything, and sprint barefooted with tears in their eyes to the one phone in the office to field calls from their respective mothers, fathers, aunts and brothers. Our program here is losing a lot of talent, but we’ll figure it out, we always do. And, now the girls have a marketable skill they can bank on, no matter where they go. Another milestone.
After 4 days in Kolkata I am already keeping time to a different tune. Kolkata’s music is almost deafening; like speed heavy metal; incessant honking as all vehicles from cars to rickshaws to bicycles have horns, Hindu temple bells, the security guard who announces his presence to all potential thugs at 2 a.m. Throw out everything you learned in Driver’s Education here because there are no lanes, driver’s don’t use indicators and there are few roads with lanes and pedestrians never have the right of way. The noise is a constant backdrop but you need to go with the flow here or else Kolkata’s intensity will break you. Of course it’s not just the noise; the smell of stinking garbage everywhere, the poor and down trodden then collecting said garbage to sleep on, the unrelenting heat and humidity and sitting all day in sweat soaked clothes, the emaciated stray cats and dogs, the flying cockroaches the size of hummingbirds, the decrepit sidewalks and building facades, the insanely aggressive salespeople, the daily multi-hour power outages, the constant staring eyes that follow you everywhere and not to mention the faces of the survivors of human trafficking with whom we are working.
Survival in the city makes me more impressed and awe-struck with the Indian people, how do they deal with this full on sensory assault every day? Most just flash warm smiles and go about their day, make a comment about that heat, (yes, they think it’s really hot, too) and go with the flow because here you just need to think of yourself as rubber rather than glass as the City smacks you around, or else you will crack. Dealing with the issues of the Jewelry Program is a similar battle. That is why the accomplishment of the Made By Survivor’s Jewelry Program is all the more sweet. Malleability, to use a jewelry term, is essential to survival and maintaining your composure. It is imperative to go with the grain rather than against, or else Kolkata will work you over.
One of the reasons I love jewelry is because I’m a sentimental. Jewelry is very often a sentimental gift or purchase and a journey around someone’s jewelry box will reveal all kinds of experiences. When I look around mine it is a trip down memory lane, a metal scrapbook, and although I don’t wear all the pieces in my collection anymore, they still bring me back to that time and place when I wore that piece.
Which pieces cause the nostalgia? Everything from the sapphire gold rope abstract geometric ring reminding me of my Grandma’s quirky-fun style, to the heavily oxidized, chunky, silver choker with round, rough, cabochons that transports me to studying and traveling Europe. I wore it everywhere and was known to sleep in it. I have this tremendous, pear-shaped moonstone and sterling silver pendant I bought from a cart vendor of handmade jewelry, in a Washington DC airport. The purchase was total impulse on my first out of state business trip for the agency that hired me out of college. That piece was special; I still associate it with feelings of independence and empowerment. I also treasure my pearl, tanzanite and white gold necklace, the first gift from my beloved.
At present, I am always wearing this one, particular ring no matter what I am wearing. It is a plane round silver band. It’s made from recycled silver that was melted down into an ingot in a simple charcoal block. Then, the little hunk of silver was formed into wire using a mill and drawn down into a usable size. Next, the wire was sanded, formed and soldered into a ring, sized and, lastly, polished. I made this ring while at jewelry arts school, the ingot was my first, and, the resulting ring was my first following the ancient process step by step from scratch. I love that a bare bones silver band reminds me of the happiness evoked during this, almost spiritual, experience. I also love the slight anticipation of making the next, memorable piece of jewelry.
Growing up in Long Island, New York provided Dianna with the unique experience to be inspired by the bounties of nature and the bounties of an urban, cultural mecca. Beachcombing and making talismans from the ocean’s treasures are some of her earliest memories, as are thrill-seeking adventures to the various havens and haunts of New York City. Recreating that feeling of wonder is something she works to capture, as is the balancing of organic, rustic elements, and urban grit; classical metalsmithing foundations and contemporary design, in her fine jewelry.
Inspiration for the jewelry comes from all aspects of nature, ancient stories, foreign lands, rock and roll, and gritty cities. Jewelry collections are named for the mythological deities of Ancient Rome and Greece. Ancient myth’s divine characters, symbolism, and personification of nature, are an endless muse and feeling like a modern god or goddess in your artisan adornment is an ideal state of being. The idea that the bulk of these ancient myths are younger than the art of goldsmithing is also enchanting, as one of the principal deities of Roman mythology was the god of fire and blacksmithing, Vulcan.
Dianna has a B.A. from University at Albany, New York, where she had the amazing opportunity to study, live and travel in Europe for a semester. She studied the classical techniques of metalworking at Jewelry Arts Institute in New York City and Revere Academy of the Jewelry Arts in San Francisco, where she completed the School’s Jewelry Technician Intensive Program. Dianna worked at the Kristin Hanson Studio in Brooklyn, NY where she was a studio assistant and instructor. She is a member of the Metal Arts Guild in San Francisco and is a part of a community of metalsmiths working to use eco-friendly practices such as recycling metal, using conflict free gemstones and seeking out products that contribute to operating a “greener” studio. Currently, Dianna resides in beautiful Northern California continuing to live her dreams.