,On my name, on on on; Meri Kahni Zara Sun Sun,My name in Oon, Oon Oon Oon; Listen to my story,
Raw, complicated black Deccan wool with small arms and jumping on the screen on a hole for a mouth, tells the story of neglect Desi on Suffering to generations. Six minute stop-motion animation film, Desi onA revatting story tells how indigenous wool stands. Its compelling story – depicting the intersection of ecology, reducing traditional crafts and industrialization of danger for rustic communities – scooped the Jury Award for Best Commissioned Film at the prestigious Annesey International Animation Festival last month in France.
The film was developed over a year by Mumbai -based studio Ecsaurus, which was with the Center for Rusticism. Living light – Travel with rustic people Exhibition in Bengaluru earlier this year. The founder and creative director of the studio, filmmaker Suresh Irot, who made a tour Desi on The exhibition in 2022 says that all this started with hearing. “We did not go with a storyboard. We went with curiosity. The prosperity of what we faced – sheep, wool, landscape, and those who live in that reality – left a deep impact. We were most excited that it was not just a textile story. It was a story of flexible, ecosystems, linked with life.”
Filmmaker Suresh Ariot, Founder of Studios Ecusaras | Photo Credit: Special Arrangement
A woolen story
About 30 people acted on the film. Lyricist and singer Swanand Kirkire translated the essence and rhythm of the songs and folk traditions of Shepherds in his song and raw singing. The attractive folk tune was composed by the silver dholakia without using any electronic or digital sources, without carefully preserving its biological quality. And was created by Soundscape Academy Award winner Rezul Pookutty.
But the star of the show was Desi on“We wanted to tell wool our story. The wool is not smooth. It does not behave. It is a fresh, resist. “We abuse the material. It gave the film a certain life – some beyond which we were breathing in it.”
Model for Desi on
Photo Credit: Courtesy Studio Ecsaurus
He made models and used special stop-motion techniques, a method that Ariot “described as a slow, touch, handicraft. It does, not just observation, “they say.
He also used special stop-motion techniques. Photo Credit: Courtesy Studio Ecsaurus
Hugging lethargy itself became a part of the storytelling. “This rustic life tempo, herring, spinning, weaving, and certainly echoing the rhythm of their flexibility,” he reminded of the year when he worked on the film. “In the era of fast material and CGI perfection, this lethargy felt almost radical.”
Soul of sand maternal uncle
The story of the central sand is for the story of Decakani Wool MotherA revered Shepherd among the rustic people of the region. Known for his calm leadership, he dedicated his life to nurture and protect Decony sheep. Center for rusticism and Lighter The team connected the studio to Sheferring communities, walked with real rustic people, observed their rhythm and routine, and learn their intelligence via orally through generations.
Sand Mother From Desi on
Photo Credit: Courtesy Studio Ecsaurus
“His followers were guided by his followers, guiding hundreds of sheep in the rocky area, never raising their voice, just present, the land was running deeply. Land listens to the herd, and the reverence of both herds and shepherds for sand and shepherd for sand. Mother Pooja was near, ”says Aryat.
His approach to this cooperation rested on the honor of the craft. He says, “We did not want to make their lives simple or romantic. Metals used in storytelling were vested in the ground.” A sheep was not ‘cute’ or ‘comic’. This was central for their economy, their kinship system and their existence. Even songs and songs were designed with the input of folk musicians who live this life. “
“When the brands co-opt without reference, they level history. We need to document not only products, but processes. Not only objects, but original. And we need to tell them with the same beauty and innovation that global audiences are used, but with our lenses, our voice, our terms.”Suresh IrisWhich believes that the time is mature for India to share its stories before being approved by the world.
A still Desi on
Photo Credit: Courtesy Studio Ecsaurus
Story with craft
The Annesey Award was deeply valid for the studio. “No, not because of the belief alone, but because a quiet, inherent story of India echoed on the world stage. It showed us that the truth travels,” is called Ariot.
After the success of the film, can an animation -led and even become a powerful medium for luxury brands to tell the story? Eriyat believes that it can especially stop-motion, drawing slowly in the audience, without defense that sometimes with advocacy. “It makes place for surprise, and leads to wonder’s curiosity. This is the place where the change begins. Desi on From permanent fashion and tourism to policy, negotiations have already been held in areas. Initial interrogation from both luxury brands and government bodies has been made to understand how such a story can be embedded in their communication, ”they share.
A still Desi on
Photo Credit: Courtesy Studio Ecsaurus
Ariot believes that animation can become a tool for cultural protection, craft revival and even rural economic development. “We have only scratched the surface. We hope that the film becomes a trigger. To ask for young people to ask where their clothes come from. To rethink the supply chain for designers. For policy makers not to see rusticism again not as ‘backward’, but as ecological.”
However, the real success will be when these communities will get continuous attention and support. “When their voices are not only preserved, but are amplified on their terms.”
The author is a stability consultant and founder of beejliving, a lifestyle platform dedicated to a slow living.
Published – July 18, 2025 08:15 AM IST
