Keeping Alive the Textile Traditions of Timor Leste

In 2012, Jill Forshee, a cultural anthropologist at Colombia College in Chicago, made a trip to Timor Leste to learn more about the country’s textiles. Forshee took photographs of East Timorese cloths (tais) from the collection of the UCLA Fowler Museum in Los Angeles, the Rautenstrauch-Joest Museum in Cologne, Germany, and other collections, hoping to confirm the origin of these cloths. To her surprise, she actually found the weavers who had made two of the tais in the photographs and the daughter of a weaver who had made a third. 

One of the weavers that Forshee found was Arestina dos Santos, who told Forshee that she wove the tais in Forshee’s photograph in 1995, and it had been her finest piece. She had never had the time to weave another one like it. Dos Santos, who lost her husband in 1979 and was left alone with four children, sold her masterpiece in 1999 for US$150 in order to pay school fees for her children; it eventually found its way to the Fowler Museum.

Marobo weaving is among the most ancient in Timor Leste.

By the time the UN Peacekeepers arrived in 1999, the practice of handweaving in Timor Leste had been devastated. Many heirloom textiles had been stolen or burnt; the only textile from the National Collection in Dili that survived was a bark cloth tubular skirt. However, peace did not end the devastation. Women who had desperately carried their family heirlooms into the mountains when they fled the soldiers and militias or buried them before they left their homes were forced to part with these treasures after the war in order to feed their families or meet other household expenses. The tais were sold to peacekeepers or foreigners who arrived with the UN Transitional Administration in East Timor; some of the very best pieces ended up in museum collections around the world.

Bunak weavers excel in the supplementary weft technique.

House of Diamonds: Creating Futures for Textile Artisans

House of Diamonds is a Malang-based social enterprise that produces stunning hand-stitched throws, as well as a range of other textile products. It was created by sisters Nur Cholidah (Ida) and Noor Fadillah (Lila) to provide dignified employment for unskilled women who have few options besides low-paid factory work or potentially dangerous jobs as maids in Hong Kong, Malaysia, or the Middle East.

Lila, 
Pak Samsul, 
Ida

Ida and Lila were galvanised to help empower marginalised young women by the example of their clever and independent mother, Ibu Nanik Fatima, who survived harrowing experiences in the Middle East, where she worked for well over a decade in order to ensure that her young daughters would have a future. The girls grew up with their father, Pak Samsul, a kind, patient man, who struggled to make a living as a silversmith.

                                             

Read more @ http://nowjakarta.co.id/house-of-diamonds-creating-futures-for-textile-artisans

                                           Ibu Nanik Fatima (1952-2009)

Pasar Mayestik: History and Textiles

Pasar Mayestik, as we know it today, is a magnet for textiles shoppers, but it began as the central market of Kebayoran Baru, the satellite town planned by the Dutch for civil servants and white-collar professionals. Ground was broken in March 1949, only months before the end of the Dutch restoration government; construction was completed by the new Indonesian government in 1955.

With its restaurants, cinema, open-air stalls, and shop houses including a pharmacy, a laundry, a hardware store, and various general stores, Pasar Mayestik quickly became the commercial hub of South Jakarta, as well as an upscale community center where South Jakartans went to watch a movie or took their out-of-town guests to Sunday lunch. Read more @ http://nowjakarta.co.id/pasar-mayestik-history-and-textiles

Meraki Sisterhood on a Mission to Promote Handicrafts

Meraki is a Greek word that means to do something with soul, creativity or love, leaving something of yourself in what you are doing. The three Jakarta craftswomen, Lita Jonathans, Wiwik Winarni, and Wien Wardana, chose the name Meraki Sisterhood for themselves, because it expresses the heart of their mission: to generate public interest in Jakarta’s 39 public museums while creating public space where those interested in handicrafts can meet, exchange and learn. by Marianne Scholte

Merah Putih Exhibition at Museum Tekstil

The Meraki Sisterhood’s first event was an outdoor gathering of quilting friends at the Museum Layang-Layang (Kite Museum) in February 2017. The quilters brought their quilts, took pictures and laid plans for a kite-related exhibition at the museum in 2018.

The Meraki Sisterhood then turned their attention to Museum Tekstil (Textile Museum), where they organized their second event in August 2017, the spectacularly successful Merah Putih (red-white) handicraft exhibition to celebrate Indonesia’s Independence Day. Red and white are the colors of the Indonesian flag, and a wide variety of handicrafters, including knitters, tatters, embroiderers, crocheters, weavers, lace-makers, clothing designers, batikers, and quilters went all out to demonstrate their love of Indonesia through their handicrafts.

Read more:  http://nowjakarta.co.id/meraki-sisterhood-on-a-mission-to-promote-handicraftshttp://nowjakarta.co.id/meraki-sisterhood-on-a-mission-to-promote-handicrafts

Reviving Minangkabau Songket

In 1996, Bernhard Bart, a Swiss architect who was learning Indonesian in Padang, Indonesia, made a sketch of an old, intricate Minangkabau songket on display at the Padang Museum. When he attempted to find a similar weaving in the markets of Pandai Sikek and Payakumbuh, he found only poor-quality textiles with simplified patterns. Intrigued, Bart began to research Minangkabau songket, eventually photographing around 1500 pieces, including many in museums in Indonesia and Europe. Along the way, he became convinced that he had to do something to keep the tradition alive.
Minangkabau songket had its golden age from 1850-1920, when highly complex patterns were woven from the finest silk and metallic threads. After World War I, economic crises and natural disasters led to decline and finally, with the Japanese occupation in 1942, Minangkabau songket weaving came to a complete standstill. 

Individual Minangkabau women began weaving again in the 1960s, but mothers had failed to pass the traditional patterns and techniques to a generation of daughters, and the new weavers could not replicate the fineness and variety of the old motifs. Some of the old patterns in Koto Gadang, for example, required up to 180 supplementary weft threads. However, the weavings that Bart found in the markets had vastly simplified patterns, using only 5 to 35 different pattern threads.

The Art of Batik Gedhog

Amid the dazzling variety of batik available in Indonesia, batik gedhog or Tuban batik, as it is also known, stands out because of its rough, handwoven cotton fabric and its simple indigo-blue and morinda-red patterns representing cotton, rice, edible gourds, creeping vines, small birds, and phoenixes.

Batik gedhog is produced in the rural village of Kerek,100 kilometers west of Surabaya and a few kilometers west of the city of Tuban in East Java. Kerek is the only place in Indonesia where cotton is still grown, spun, dyed, woven, and hand-batiked all in one place.

From the 9^th century until the early 1600s, Tuban was the most important port in Java, trading in spices, dyewoods, silks and porcelains from China, patterned cotton and silk from India, as well as its own cotton yarns and textiles. However, in 1619, Tuban was conquered by the Mataram Sultan Agung Hanyakrakusuma, who chose Jepara as his main port, and shortly thereafter the Dutch set up Batavia (today Jakarta) as their center of trade. Tuban quickly faded from history, and languished in obscurity and poverty for almost 400 years...

Read more: http://nowjakarta.co.id/the-art-of-batik-gedhog

Text by Marianne Scholte

The Sacred Tradition of Baduy Textiles

The Kanekes people – better known as Baduy – live in the Kanekes villages in the mountainous Kedeng region of Banten Province. An ancient Sundanese-speaking people, the Baduy have been living in these villages for centuries, perhaps since the 5^th century. Visitors can only enter their territory, which is marked by 179 points such as rock outcroppings, a river, tree or hill, after obtaining a travel permit at the border town of Ciboleger.Life among the Kanekes is ordered by a traditional philosophy that calls for a life of prayers (recited in old Sundanese in front of burning incense) for the good of humanity, self-sufficiency, and harmony with nature – they therefore reject modern conveniences and all things that do not come from within their own territory. 

Those living in the three urang tangtu (white or Inner Baduy) villages strictly follow the ancient traditions and religious beliefs. They are not allowed to cut their hair or use public transportation, for example, so that when they venture to Jakarta, they walk barefoot for three days. Non-Indonesians cannot enter the Inner Baduy villages...

Read more:  http://nowjakarta.co.id/the-sacred-tradition-of-baduy-textiless
text by Marianne Scholte