'Sirogojno style' - proizvodnja i distribucija zanatskih predmeta/proizvoda od vune

Abstract

Istražujući modnu produkciju Sirogojno stila, pošla sam od pretpostavke da su 'predmeti kao i reči nosioci informacija'. Na osnovu do sada napisanih radova, a najiscrpniji je svakako rad Bojane Bogdanović, i sopstvenog terenskog istraživanja 2010. godine, nastojala sam da utvrdim koliko je ovaj modni stil bio nosilac informacija o kulturnoj sredini koju je reprezentovao. Obuhvatila sam istrazivanje materijala, proizvodnju i prodaju predmeta od vune. U razvoj ovog stila prenet je entuzijazm kreatorke Dobrile Vasiljević-Smiljanić i žena iz zlatiborskog kraja, kao i velika podrška tadašnjih političkih struktura (države), lolalnih vlasti i, preko porodičnih veza, Dobrile Vasiljević-Smiljanić i crkve. Njene kreacije su poznate po adaptaciji tradicionalnih lokalnih ornamenata. Stvoren je prepoznatljiv stil proizvoda od vune. Na tom 'putu vune' od lokalnih sirovina do islandskih, od unikatnih motiva do prodaje na otvorenom, od prodaje u zemlji i inostranstvu do muzealizovane prodaje u prvoj deceniji dvadeset prvog veka, prošlo je više od pedeset godina. Proizvodi iz Sirogojna bili su prepoznatljivi i u zemlji i u svetu. Svi negativni procesi koji su pratili devedesete godine XX veka uticali su na smanjenje obima proizvodnje i distribuciju proizvoda domaće radinosti iz Sirogojna. U kasnim devedesetim proizvodnja je prešla u ruke vlasnika iz lokalne sredine koji nije mnogo zainteresovan za nju. Ta proizvodnja i prodaja je u prvoj deceniji dvadeset prvog veka muzealizovana. Dobrila Vasiljević- Smiljanić mi je 2010. g rekla 'da bi sada sve trebalo početi od nule, od novih motiva do marketinga'. Čini se da i danas nedostaje njen veliki entuzijazam. Vlasnici nove firme kažu 'da su sela pusta i da nema dovoljno pletilja'. S druge strane, postoji prodaja na otvorenom, dobro postavljena i vidljiva onome ko dolazi u Sirogojno. Na tom prostoru, u tipskim kućicama žene pletu i prodaju predmete od vune sa motivima koje je nekada kreirala Dobrila Vasiljević-Smiljanić. Pletu ih žene koje su nekada radile u tom pogonu, a i one izvan njega. Većina ovih žena na taj način izdržava svoju porodicu, budući da je i u ovom kraju jedan broj muškaraca ostao bez posla. Sve ispitanice koje rade na otvorenom navode da su nezadovoljne svojim statusom. Prostor gde rade i prodaju registrovan je kao zanatska radnja, a njihova delatnost kao zanat, ali ih u privrednom registru vode kao preduzetnike, a ne kao zanatlije, što utiče na visinu poreza. Nezadovoljne su jer mesto gde rade drugi nazivaju 'buvljak'. Moje ispitanice nisu imale nikakav odnos prema činjenici da se na tom mestu kopira motiv čiji je idejni tvorac kreatorka Dobrila Vasiljević-Smiljanić. U završnom delu rada iznosim svoje viđenje tekstilne radinosti u Sirogojnu. Ističem da je Dobrila Vasiljević-Smiljanić imala aktivnu ulogu u fromiranju ideje da se otvori Muzej 'Staro selo'. Šteta je što je propala njena početna ideja da se u tom atraktivnom ambijentu predstavi tradicionalni postupak izrade predmeta od vune. Ti programi danas u manjem obimu postoje u Muzeju. Istraživanje tokom 2010. godine je pokazalo da se originalna proizvodnja 'Sirogojno stila' smanjuje i muzealizuje. Muzej 'Staro selo' bi mogao da objedini resurse, bude centar tekstilne zanatske delatnosti i tako zaštiti, razvije i unapredi tekstilnu baštinu Sirogojna.

The basic premise of my research regarding the fashion production of Sirogojno style was that 'objects are, like words, carriers of information'. Based on research published so far - a paper by Bojana Bogdanovic being the most detailed - and my own fieldwork conducted in 2010, I have attempted to ascertain the extent to which this particular style of fashion carried information about the cultural environment which it represented. The research encompasses the study of the materials being used, the production and the sale of products made of wool. The development of this particular style was influenced by the enthusiasm of designer Dobrila Vasiljevic-Smiljanic and the women of the mt. Zlatibor region, as well as the support provided by the political structure of the period, the local government, and through Dobrila Vasiljevic-Smiljanic's family ties - the church. Her creations are famous for incorporating adapted local ornaments. A distinct and recognizable style of woolen products was created. This 'Wool Road' - from using local raw materials to materials imported from Iceland, from creating unique motifs to sale in the open, from national and international sales to musealized sales in the first decade of the 21st century - has lasted for over fifty years. Products from Sirogojno were renowned both in the country and abroad. All the negative processes which happened during the nineties influenced the decline of production and distribution of hand-crafted products from Sirogojno. In the late 1990's, the production was acquired by a local owner who didn't show much interest in it. This production has been musealized in the first decade of the 21st century. Dobrila Vasiljevic-Smiljanic told me in 2010 that 'everything should be started from scratch now, from new motifs to new marketing'. The new owners of the firm say that 'the villages are deserted and there aren't enough weavers'. On the other hand, there is sale in the open, well set up and visible to visitors of Sirogojno. In this space, in typical small houses, women weave and sell woolen garments adorned with motifs which were once created by Dobrila Vasiljevic-Smiljanic. Most of these women feed their families this way, because a number of men were left without jobs in this region. All of my informants who work in the open state that they aren't satisfied with their status. And none of them had any specific relation toward the fact that they were copying motifs created by Dobrila Vasiljevic-Smiljanic. In the final part of the paper I will offer my own understanding of the textile craft in Sirogojno. I emphasize that Dobrila Vasiljevic-Smiljanic had an active role in the shaping of the idea to found the Staro Selo Museum. It is a pity that her initial idea to represent the traditional way of producing woolen garments in this attractive setting fell through. Research conducted in 2010 has shown that the original production of 'Sirogojno style' is shrinking and being musealized. The Staro Selo Museum could pool the resources, become a center for craftsmanship and thus protect, develop and promote the textile heritage of Sirogojno.