{'fraction_non_alphanumeric': 0.018820577164366373, 'fraction_numerical': 0.0075282308657465494, 'mean_word_length': 5.816239316239316, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
RESCUE AND REDEMPTION

In The Body Impolitic, Herzfeld (2004) develops a theory of the ‘global hierarchy of value’, according to which traditional artisans are discursively constructed as socially and economically subordinate to contemporary global capital. A pivotal consideration in understanding such discursive formations, Herzfeld suggests, is the identification of the agents through whom that discourse takes shape and becomes entrenched. Here, we advocate a parallel consideration of ‘designers,’ the professionals trained in the urban metropole and who often mediate between the aesthetic sensibilities of a global cosmopolitan elite and the parochial practices and menial labour of artisans. Drawing on the history and literature of the field of design within India and on fieldwork conducted between 2002 and 2009 with traditional block-print artisans in Rajasthan, we claim that dominant narratives within the field of design – narratives in which artisans and traditional craft are preserved or ‘rescued’ by designers – contend even today with the more politically charged Gandhian narrative in which traditional craft and livelihoods ‘redeemed’ the newly independent state from the threat of industrialization and the simple mimicry of Western societies. The conscious professionalization of ‘design’ by the developing state and the concomitant incorporation of a particular moral code within that emergent, predominantly middle-class profession operationalize designers as agents of a global hierarchy according to which artisans' bodies and labour are assigned a specific value.