Research Blog
Echoes of Ever Silver: The Swan Song of Kalaiwalas
by Saumya Gangwar
2020 Critical Writing M.Des.
The aim of the research
..is to identify and understand exemplary instances of indigenous design and technology, as expressed in a product or process that is local to the home/neighborhood/region
the objective
..of doing so is to give recognition to and learn from, such design exemplars, which constitute progressive modes of design thinking, but are not given due value today. In doing so, the students were first asked to qualify for themselves - and the reader - what are the progressive modes of design-thinking? This was to help students explore how they can set about designing in ways that are appropriate to our time, context and place.
The article provides a thorough exploration of kalai, an ancient art form involving the tin coating of copper and brass utensils. It delves into the historical, procedural, and cultural aspects of kalai, showcasing its importance and challenges in modern times. The piece effectively intertwines science, society, and sustainability, illustrating kalai's positive impact on health, community bonds, and environmental responsibility. It emphasizes the decline of kalai due to changing societal preferences and advocates for a return to design that prioritizes collective benefits and sustainability.
Please take a moment to look at this picture here.
That, precisely, is the charm of this image. And subsequently, the art form that we’ll talk about, it has little to do with art per se and more to do with practice and trial and error, just to get a feel of something.
Presenting the kalai-walas of Lucknow, artisans who use their knowledge of metallurgy to tin copper and brass[3] vessels for culinary use. Kalai, or tinning, is a process that deposits a thin layer of tin on the surface of the vessels to prevent them from reacting with the organic acids in food..[2] Kalai-walas use only heat, ammonium nitrate, and caustic soda to make their vessels safe, durable, and even medicinal.[4]
Hiding of and seeking from ‘Kalai’
Given the simple method and materials used in kalai, it is surprising that this pragmatic technique is not more widely known. In contrast, even though society has largely forgotten kalai, personal blogs and YouTube channels[5] run by art and cuisine enthusiasts continue to extol its beauty and benefits. This begs the question: why is kalai not more popular?
In the Yahiyaganj market and Chowk in Lucknow, 5-6 shops continue the practice of kalai, the traditional art of tinning copper and brass vessels. In these dark and dingy spaces, artisans perform the delicate task of transforming utensils with a layer of kalai.’[6]
While some artisans have managed to sustain themselves, this paper relies only on online sources of information, including personal blogs, newspaper clippings, and YouTube videos. The data has been categorized and analyzed under three themes: science, society, and sustenance. The delicate balance of these three traits may be the perfect starting point for a truly exemplary intervention. Insights from this analysis could help us better understand what constitutes "good design" and how we, as designers, can make design "good."
Kalai’
To fully understand the art of kalai, we must imagine a time when copper and brass utensils were the mainstay of the kitchens. The resounding call of "Bhande kalai kara lo!" (get your vessels re-tinned) was a familiar sound in every city.’[7]
To first-time spectators, the kalai process would unfold like magic. Soiled and tarnished brass and copper kitchenware would be transformed in an hour into gleaming and sparkling vessels. But kalai is more than just art; it is also practical science.
Copper and brass are prized for their excellent heat conductivity, which evenly cooks food and imparts a unique flavor and digestive benefits.[7] However, these metals can react with organic acids in food, causing discoloration, bitterness, and even toxin production. Kalai-walas circumvent these problems by tinning copper and brass vessels, making them safe for use. This made them invaluable members of society, serving everyone from royal bawarchiwalas (chefs) to regular households.[8]
Figure 2 Process of kalai[9]
‘Kalai wala’
The fascinating show of kalai-wala wouldrequire only a few ingredients but a lot of practice. Mr. Nausad in his interview by Chef Harish Tiwari explains that when work was abundant, artisans used to move around on their bicycle carrying a blower, charcoal, tin metal strips and other necessary tools and chemicals. The process would start with a thorough cleansing of the utensil with caustic soda to remove any foreign impurities. In the next step, it would be washed with an acid that contains a gold purifying compound ‘Sufa’, a salt and another element. It would then be immediately wiped clean to avoid leaving a mark. Simultaneously, a temporary blast furnace was prepared by digging a pit in the ground and airing the charcoal ember with bellows. As the utensils heated up, a tiny piece of tin was placed on its blasting hot surface. It would melt instantly and then be rubbed on the utensil using a cotton pad dipped in nausadar (ammonium chloride) powder. The process would culminate in a hissing sound from the newly tinned scalding hot vessel being dipped in water to cool it down. [4] It is to be noted that there is astounding finesse in being able to curl this molten tin to form a perfectly uniform layer inside a 600o C hot vessel while an opaque white-grey smoke billows off and engulfs the eyes. This is an art, perfected over decades to achieve a flawless, glossy and smooth surface every single time.[8]
What are the qualities embodied by kalai that we could learn from?
Every exemplary practice is an ideal entanglement of science, society, and sustenance. In isolation, these pillars may seem like easy targets, but indigenous practices have mastered the art of establishing an equilibrium that benefits all and harms none, earning them everyone's awe and appreciation.
The rich confluence of science, society and sustenance
To draw better insights about design thinking and design approach, the question that must be posed is:
Science
Using copper vessels not only filters water but also provides a daily dose of the essential micronutrient copper. Copper stimulates the brain, promotes bone strength, aids digestion, regulates body fat, has anticarcinogenic properties, regulates thyroid function, prevents joint pain, aids hemoglobin synthesis, maintains acid-alkaline balance, helps heal internal wounds, and slows aging due to its antioxidant properties.[10]
To understand the science of kalai, we must first understand the science of using copper and brass kitchenware. These metals are highly conductive, which allows for even cooking and efficient use of fuel (firewood), which was once a physically demanding task. Water stored in copper vessels for a significant amount of time dissolves traces of copper, which has an oligodynamic effect, meaning it is toxic to living cells. This destroys a wide range of harmful microbes in the water, making copper vessels a natural water purifier.[10]
Society
Before the invention of stainless steel, copper and brass were widely used for a variety of purposes. The practice of kalai, by tackling the issue of corrosion in these metals benefitted the entire spectrum of the society. The only question it asked is, is the material copper or brass?
An appropriate analogy to illustrate the communal contributions of this practice would be that of an alarm clock.
Just as an alarm clocks alerts us about the time, the kalaiwalas’ call served a similar role but on a regional scale. His call was a periodic reminder for people to inspect their utensils and ensure that their health was not at risk. This brought about a sense of interdependence between the community and the artisan, each looking out for themselves by looking out for each other. Also, kalai, being a physically intense and time-consuming yet extremely fascinating process, served as a sweet excuse for the women and children of the neighbourhood to gather, chat and play while being curious spectators and quality monitors.
Sustenance
The art of kalai, or tinning copper and brass vessels, was a response to the challenges of sustenance at various levels. First, it required simple and readily available materials, making it accessible to people from all walks of life. Second, kalai vessels were made from highly conductive materials, which helped to conserve fuel and reduce environmental impact. Third, kalai protected the metal from corrosion, extending the lifespan of kitchenware and reducing the need for frequent replacement.
In contrast to today's vicious cycle of buying and discarding, kalai was a practice that valued longevity and sustainability. Household objects were seen as investments, and cultural practices like kalai enhanced their value and durability. Unfortunately, this is no longer the case.
This leaves us at a fascinating juncture. The aforementioned case highlights both the aspects that our community appreciates and the costs we are willing to pay for ease and aesthetic.
It is evident that kalai and the kalai-wala remain relevant only as long as the society uses kitchenware made of copper and brass. Sadly, by the end of the 20th century, the newly minted republic of India leaned increasingly towards industrialization. And with this shift, the colour of an Indian kitchen changed from golds to greys. Aluminium and stainless steel came to represent the quintessential idea of a ‘modern’ home. ‘The allure of the ‘ever-silver’ aesthetic was strong enough to overshadow the fact that stainless steel neither conducted heat as well as copper nor retained heat as well as brass or cast iron. Yet, its easy maintenance was too compelling to ignore.’ [8]
Where do we go from here?
A recent increase in awareness of the benefits of copper and brass has revived their use in part. However, conversations about the ills of their continued use are still lacking in the public discourse. When creating awareness about a subject, it is important to critically examine the craft, including its practice, not just the product. This helps to avoid misinterpretation and missed opportunities. For example, while the article we cite applauds the artisans' grit in working with gray-white opaque smoke, there should also be space for concern and mitigation.
‘Mohammad Zeeshan claims that the fumes of the nausadar powder are not hazardous to health citing the health of his father and grandfather as examples. “Though as a precaution, our grandfather has instructed us to eat gud (jaggery) after work, a gharelu nuska (household remedy) to keep the lungs clean”, he states as a matter of fact.’[8] Doctors with pulmonary expertise might disagree. It has also been noted that the vessel reaches a temperature of around 600oC – what precautions have been put in place to address that risk?
The way forward
Before proceeding, let's revisit the first image and the impressions it evoked. The art of kalai is dying because its relevance has been ignored in the pursuit of convenience. Ironically, this convenience has come at a hefty cost: medical bills. Acknowledging and investigating this cost may prompt a return to bronze-hued kitchens.
Copper and brass utensils coated with kalai protect and heal our bodies, health, investments, and resources. For millennia, they have also brought communities together. Modern design practices and designers should help kalaiwalas interpret their craft for the modern consumer and develop safer ways to practice it.
Another lesson is to adapt, not revert. Our education should teach us how to empower and involve traditional communities in our processes, instead of simply deferring current "solutions" that have made those communities irrelevant for years.
These lessons should motivate us to reevaluate our preferences and priorities. We must rediscover the beauty in the simplicity of these practices and return to designing solutions that benefit people, not just individuals. These practices prompt us to view design like silk: painfully delicate yet surprisingly strong.
List of References
Sanket Jain, FirstPost – “In Karnataka’s boragaon village the last kalaiwala reflects on his lifelong engagement with the now dying art form.”
Patrika, INTACH Pune, History of Tin-coating of metallic utensils in India.
Brass is an alloy of copper and zinc.
Chef Harish Tiwari, Kalai procedure for Copper, Interview of kalaiwala – Mr. Naushad
Video-streaming website
Anonymous, Lucknow Observer, The Kalai Work
Yusra Hasan, Sahapedia, Qalai- A waning art
Sara Dahmen, House Copper, Trials of Refurbishing and Re-Tinning Copper Cookware
Sheetal, route2roots, Kalai – The vanishing shine of re-tinning
Rahul Kumar, Zigya, “Kalai Art work – Old and Effective Technique to clean Utensils”