What do laundry and lunch delivery have to do with my favoured intersection of communication, culture and creativity? Well, in the case of Mumbai’s Dabbawallas and Dhobi Ghats – quite a lot. Via their respective coding systems, both enterprises are able to track items within their service chain to ensure accurate delivery.
The Dabbawalla service entails collection of freshly prepared meals from the residences of suburban office workers from vast reaches of the city, delivery to their workplaces and the return of empty lunch boxes (dabba or tiffin) to its original home – all for a reasonable monthly fee. Delivering over 200,000 lunch boxes each day to workers who have diverse eating habits (often governed by religion) requires an accurate system – especially as each lunch box commonly passes through the hands of at least six men, in quick exchange, on its path from home to office and back again. Most tiffins are collected by bicycle, sorted into destination groups, then carried together on trains and cycled to the offices of their respective customers. In between they are commonly carried on hand pushed carts and large head-balanced trays – all while jostling with chaotic Mumbai rail and road traffic.
With low literacy being an issue for some of the 5000 dabbawallas, they have devised a coding system using colour, symbols, numbers and a few letters which is painted on the lids of the tiffins to indicate the train lines, hub points and destinations at both ends of the delivery cycle. Each part of the marking can be understood by the relevant dabbawalla as the lunch box exchanges hands through the service chain. In the case that a lunch box gets on the wrong path, the code allows it to be set back on the right track – yielding only one mistake per 6 million deliveries according to economic analysis.
The Dabbawalla’s have been operating for over a century and the business continues to grow at a rate of 5-10% per year. When I asked about the effects of the economic downturn I was told with a smile that “the stomach knows no recession.” Their innovative localised system has been studied by business schools worldwide and covered by international media including the New York Times. As a brand strategist I also note an additional factor that contributes to their iconic status in the city: the dabbawalla’s signature Gandhi cap. This further serves as a recognition device between workers at busy exchange points and failure to wear one attracts a fine from their registered co-operative association.
The Mahalaxmi Dhobi Ghat is the world’s largest outdoor laundry which processes three quarters of a million items daily from households, hospitals, hotels and schools.
With articles to be washed, dried, starched and pressed coming from distant neighbour-
hoods to this central location – they have also developed a coding system to track and assure accurate return. Many customers dispatch their laundry to local hubs which send in bulk orders to Mahalaxmi. Each laundry hub attaches their articles with a scrap of cloth bearing a code penned in indelible ink – indicating the short-form name of their hub and their total number of articles over the recorded individual item number.
Workers in both systems are proud of the value that their services provide to the megacity. Together they exemplify the virtues of bottom-up innovation and entrepreneurship at play in this densely populated urban centre. Most dhobis and dabbawallas are migrants to the city – but in the words of 65 year old dhobi walla, Jan Mohammed [pictured above]: “There’s no city like Mumbai.”
Related links:
You can see and read more on my Flickr sets of Dabbawallas and the Dhobi Ghats
and I have upcoming pieces on both services being broadcast on Radio New Zealand.
Last week I went in search of the handful of Bollywood poster wholesalers at the somewhat obscure Tilak market near Grant Rd Station in Mumbai. These dealers stock posters of the latest films for advertising use by movie distributors, large and small cinemas and a growing number of small DVD projection halls in villages and slums across the state. They also store a selection of older posters printed from hand-painted originals – though this is very much a secondary trade to their bustling wholesale enterprise.
Abid Hussain Vora is 78 years old and originally came to Mumbai from Bhopal in the hope of becoming a movie actor. Instead he got into film production and later started his movie poster business. Like mine, his all time favourite Bollywood film is Mughal-e-Azam (1960).
Rajesh Vora is the most recent in three generations of poster sellers encompassing 65 years of trade. His grandfather, the late Amrat Lal Vora, used to extract the silver from black & white film strips and later set up their poster business. His father, Chandra Kant Vora, notes that the film industry gives so much to this city and that his enterprise is a “soni ka line” (golden job). His favourite film is Naya Daur (1957).
Mansoor Ali Hussain, now in his 60s, was obsessed with film photos as a child but could not then afford to attend movies. Instead he chose this line which now also employs his son. His favourite film is Sholay (1975).
Today I headed to Chor Bazaar (Thieves Market) to seek out dealers of older, collectable posters. Abu Khan is the youngest in a line of antique traders who have done business here since the late 1800s. They buy posters and other Bollywood ephemera from auction and collectors. His favourite film is Aradhana (1969).
Lastly I enjoyed a fabulous visit to Shahid Mansoori’s shop that I have been frequenting on trips to Mumbai since childhood. At 55 he is the third generation of his family to work at Chor Bazaar. As a child he collected Bollywood images that came with chocolates and ice-creams and later this evolved into frequenting auctions, purchasing from collectors and scooping up the remains from rural cinema closures. Eventually he heeded the advice of friends to start a business and he now has 40 people sourcing items for him across the nation. His son, Wahid, is currently collating material for an upcoming exhibition in France. Mr. Mansoori’s favourite film is Nishant (1975).
Related articles:
Viva Vernacular
A Closet Full of Bollywood (Hindustan Times)
And if Bollywood kitsch is your thing you’ll probably also enjoy
my Backview Bollywood set on Flickr.
“Attack complacency. Lay siege to boundaries. Load your catapult with options”
– fundamental Moxism
Recently I participated in a NextPlays lab by Moxie Design Group along with ten others from diverse involvements spanning government, non-profit and corporate realms. NextPlays is a transformative platform encompassing a culture of participation to explore sustainable future scenarios – then to imagine, plan and build strategies around them.
The session was exceptionally well devised as a fast-paced yet flexible programme which harnessed group energy and maintained momentum throughout the day. Activities alternated between presentations and discussion on context and challenges, exposure to inspiring case studies, rigorous team brainstorming around specific scenarios – and the personas that would be interacting with them. The seamless framework focused participants’ energy on a wide range of variables toward cultivating sustainable and transformative solutions.
NextPlays Labs have been conducted by Moxie with a wide range of organisations both global and local – from Air New Zealand to the World Bank and upcoming sessions with big boys Procter & Gamble. Each lab is specifically tailored to relevant issues facing the organisations, with the Moxie team skillfully migrating approaches on the fly to accommodate the unique needs of participating enterprises. Strategist Bert Aldridge notes “NextPlays is not about delivering answers but rather it’s an engagement tool to enable and build capacity around the seeking of solutions” while director Peter Salmon succinctly refers to its power to “catalyse conversations towards sustainable outcomes.”
The labs have been used in both Bangkok and Hanoi to explore urban development in conjunction with the World Bank Institute. Participants in these workshops have included community educators, climatologists, architects, environmental youth groups, waste management specialists and urban planners. In such company NextPlays has played a role in the aligning of agendas towards future-focused outcomes on a civic scale. Through encouraging an appreciation of inter-connectedness, divergent players discover potential efficiencies and opportunities.
And back here on home turf I found the expert guidance from scenarios to solutions, context to collaboration, macro to micro – all made for a highly rewarding and productive experience of the Moxie mix.
Related articles:
Creating Waves Through Collaboration
Change Agents Surmount Style
I’ve been throwing in the odd post to the recently launched REculture blog which explores the informal post-consumption economies of repair, repurpose, recycling and reuse at the Base of the Pyramid (BoP).
“Recycling has an entirely different meaning in the informal economy at the base of the social and economic pyramid across the developing world. Repair, reuse, repurpose and resale of products and packaging forms the basis of numerous small time businesses and services, creating a REculture that sees the potential for innovation and creativity where we might see waste.” – Niti Bhan
The REculture blog was launched by the globally prolific Niti Bhan of Emerging Futures Lab – a multidisciplinary research and consulting team focused on understanding the people at the base of the pyramid in order to improve the success rate of new ventures, products and services across the developing world.
A snippet on REculture from my end:
Advertising Ahmedabadi-style
A Ravivar Bazaar (Sunday Market) is held weekly on the edge of the Sabarmati River which runs through Ahmedabad. Noteworthy is the large tool trader stall which offers re-circulated goods for second-generation consumption. A micro-enterprise that fuels others to repair, reuse, repurpose and recycle.
The stall’s innovation is that by displaying it’s vast array of goods below the busy Ellis Bridge, it acts as a giant self-promoting ground-level billboard for itself. While corporates pay top dollar for hoarding space above street level – BoP entrepreneurs leverage opportune visibility below.
Keep an eye on REculture to shine a light on scarcity being as much of a driver of innovation as the numerous examples we see of abundance being the accelerator elsewhere.
I was reflecting today on my involvement as a mentor on the 2007 Creative Waves Project. It was a 3 month online education initiative which sought to facilitate global participants to propose initiatives to raise health awareness in Kenya. The project championed collaborative practice and encouraged intense and pro-active engagement of participating students, pharmacists, graphic designers, health workers, professional bodies and education institutions.
Over 50 pharmacy students and 50 graphic design students from diverse locations worldwide were united by the comprehensive online platform and had contact with international mentors and participants on the ground in Kenya throughout. Health related concerns including malaria, tuberculosis and immunisation were to be addressed through a well devised learning methodology which spanned 12 weeks. This included ever-inclusive tasks within the stages of Socialising, Gathering, Identifying, Distilling and Resolving – some of which were addressed from within assigned groups and all of which were lively points of intersection.
As a mentor it was interesting to note the principles of self-organisation play out as some students rose to the fore and took up leadership roles, groups figured out their respective skills and capacities, particpants cross-pollinated each others ideas and assisted each other to overcome technical challenges. The discussion sections with collaborators onsite in Kenya were particularly active and provided essential insight to the project at large. Guest professionals came in at various stages and memorable was the input by Anne Miltenburg, of Studio Dumbar, who spoke of issues surrounding visual communication and illiteracy.
Proposals that came out of the project included a headscarf that could be laid out and used as a board game to highlight health issues, soccer uniforms which vibrantly carried relevant messages and stickers to be adhered to fruit and vegetables, bearing health information. As a mentor I found the process as rewarding as the results. Social media initiatives are gaining popularity in bringing people together to solve diverse challenges. The Creative Waves project was pioneering back in 2007 and gave all participants a taste for the power of participation. One hopes that many were inspired to go forth and… collaborate.
Photo credit: Women’s Que for HIV Testing in Kenya, by Georgina Goodwin for Vestergaard Frandsen.
My week has been peppered with conversations on the use of scenario building as a
method of design thinking. This took me back to fond memories of working alongside my inspirational colleague MP Ranjan at the National Institute of Design (NID) in India who has been pushing the barrow of design thinking and its extensive applications from way before it became a hot topic.
Energetic in mind and manner, Ranjan has been evolving his invigorating, provocative and immensely popular Design Concepts & Concerns course for close to two decades now. A cornerstone of the programme is his learning from the field model which is kicked off by investigating local micro-enterprises.
By closely examining sidewalk entrepreneurs, students are encouraged to engage in a rich exploration of current scenarios to spark dimensional discussion towards enhanced scenarios. This process lays the foundation for future envisioning that can be scaled to embrace complex challenges to which design thinking can be applied: from systems to services and beyond.
Ranjan elaborates on the course blog:
… it is far easier to start with small and micro enterprises such as street food vendors who are easily accessible and can therefore be a very useful source of business learning and about a number of finer aspects of entrepreneurial behavior. Each of these micro businesses is indeed homologous to a huge multi-national business conglomerate in a similar line of business such as the ones involved in the preparation and delivery of food to their customers across several continents.
As design extends its focus from product innovation to social innovation (including significant expansion into service design) one hopes that design schools are exposing students to relevant skills and contexts. And as Ranjan has clearly demonstrated – those contexts can be as close as the nearest street corner.
Images from students of the DCC Foundation Class of 2006
Related posts:
Creating Waves Through Collaboration
Mumbai Markings Enhance Service Design
I was particularly heartened to come across the recently launched mash-up of fashion and fundraising: The Uniform Project in which a pledge has been made to wear one dress for one year as an exercise in sustainable fashion.
Actually there are seven identical dresses – one for each day of the week. Every day the dress is artfully reinvented via layers and accessories and images posted online in the effort to raise money for the Akanksha Foundation – a grassroots movement that is revolutionizing education in India.
The project’s brainchild Sheena Matheiken recollects “I was raised and schooled in
India where uniforms were a mandate in most public schools. Despite the imposed conformity, kids always found a way to bend the rules and flaunt a little personality… Girls obsessed over bangles, bindis and bad hairdos. Peaking through the sea of uniforms were the idiosyncrasies of teen style and individual flare. I now want to put the same rules to test again, only this time I’m trading in the Catholic school fervor
for an eBay addiction and relocating the school walls to this wonderful place called
the internet.”
It all made me reflect on my past delvings into fashion and connectivity which I covered in my paper Fashion, Humanism and the Online Environment (1.8MB). Written in 2005 I’m the first to admit that the dialogue has definately moved on. However at the time Web 2.0 was still a fresh enough topic to win me a junior faculty travel award to present at the International Foundation of Fashion Technology Institutes conference in the US. (disclosure: my main driver for submitting the proposal was the thought of a two week escape from the excrutiating heat of high Indian summer – to which, as a New Zealander, I was entirely unaccustomed.)
The Uniform Project goes a long way in exemplifing my suggestion:
“through the internet, fashion holds the power to create space for social, cultural and altruistic discourse… the multi-layering of internet based communication affords the opportunity to participate in the arena of commerce while remaining culturally relevant, responsible and active.”
While I was more speaking about fashion brands leveraging cultural connectivity The Uniform Project is instead an online fundraising initiative masterfully leveraging fashion itself. Great to see the Manolo on the other foot!
No longer patronisingly for ‘dummies’ – it’s a welcome relief to note the emerging host of savvy communications for clarifying complex information. These de-mystifying initiatives are not only potentially transformative but have implications of being powerfully inclusive as well.
First up: a timely animation explaining the Credit Crisis which is the result of “exploring the use of new media to make sense of a increasingly complex world” by Jonathan Jarvis over at the Art Centre College of Design in Pasedena. In fact it also shows up the failing of mainstream media to shine a clear light on this subject and raises the notion that they have then traded on the resulting confusion.
Xplane, the Visual Thinking Company who employ the method of visual collaboration and acknowledge that “effective communications… move people to action” have co-created a plethora of visual initiatives aiding understanding of complex information – rendering concepts like How Obama Reinvented Campaign Finance both palatable and digestable.
And on a topic dear to my heart: co-design. I’m over trying to bumble my way through explaining this concept to people and this beauty from thinkpublic does a great job. If this is combined with case studies from public & corporate arenas then one can easily begin grasp the concept. But hey – that’s another post!
Finally – if you’re still confused about Twitter: here it is in plain English and perhaps check out more humorous clarifications over at More New Math.
We increasingly need better filters for information (in both commercial and public spheres) and I’m a big fan of these being executed in a compelling way. If more people understand stuff surely we can expect better dialogue. And lets face it – life isn’t getting any easier – and attention spans certainly aren’t getting any longer.
[A nod to TBWA Media Arts Mondays over at PFSK]
Earlier this year I spoke at the TypeShed 11 symposium here in Wellington, New Zealand which was a great opportunity to catch up with global type-obsessives I already knew and to meet some new ones. Though I always feel a bit out on a limb in such company as I’m no craftsperson when it comes to typography (having a short attention span for form) – but rather like to poke around the socio-cultural manifestations, functions and implications of type and type-making.
I spoke on Indian street graphics, touching on issues such as multiple language, globalised brands and competing technologies alongside the pervasive flamboyance of idiomatic typography in India.
You can download a summary of the presentation entitled Sign-wallahs: Indian Streetscape (2MB) that was published last year by the good folk at Lab Magazine or check some of my Indian street graphics collection on Flickr.
Related articles:
Viva Vernacular
Digitising Indian Ink
A couple of years back, while teaching design at the National Institute of Design (NID) in India, I carried out a study on the visual marketing of Coca Cola for the Royal Melbourne Institute of Technology (RMIT). Viewing Coke’s journey through the lens of glocalisation, I explored notions of branding as a site of negotiation between global business interests and local cultures.
You can download the Glocal Cola PDF (2MB) containing a significant part of the research or if you prefer just looking at pictures you can check out my Cola Collection on Flickr.
