Pua Sungkit (fragment), Ibanic People, Borneo, 19th century or earlier, supplementary thread warp-wrapping, natural dyes.
This textile is one half of a pua sungkit, which was once joined to a "mirror" of itself, along the selvage. This half is complete, with borders, although its “other half” has been separated, and presumably passed down a different line of descent. The pattern is associated with lang burong, the deity of warfare and headhunting.
Kain Kebat woman’s skirt cloth, Kantu People, Kalimantan, Borneo, early 20th century, warp ikat, natural dyes.
The photograph at left shows Kenyah women spinning cotton. Although the Kenyah and the Kantu were distinct groups, the process of cotton thread production was probably similar, and the vintage of this photograph is also similar to that of the textile.
Lau woman’s tube-skirt, Kodi, West Sumba, mid-20th century, warp ikat patterning on cotton, natural and aniline dyes.
If you appreciate the strong rhythm and pattern of this cloth, consider visiting the website of the Sumba Foundation, who are doing exemplary work on this poverty-stricken island to eradicate malaria, improve education and health care, and conserve cultural and artistic traditions. www.sumbafoundation.org
Kain Sarong men’s skirt cloth, Buginese people, South Sulawesi, early to mid-20th century, weft ikat patterning on silk, aniline dyes, flat textile sewn into a tube (can be opened up).
At left, a Bugis weaver in Makassar, ca. 1900.
Kain Sarong men’s skirt cloth, Bugis people, South Sulawesi, early to mid-20th century, weft ikat patterning on silk, aniline dyes, flat textile sewn into a tube (can be opened up).
One wonders if the weaver knew how modern this skirt cloth would look. Pow. The image at left shows an 18th century depiction of a Bugis couple, perhaps inaccurately, as it would have been drawn from written descriptions only. The Bugis are famed as Indonesia’s finest seafarers and traders, and are infamous (historically) as pirates. The term “bogey man” is derived from the word Bugis, and reflects the general attitude toward the Bugis on the part of travellers in pre-modern Indonesia: fear.
Kré Alang nobleman’s skirt cloth, Semawa people, Sumbawa Island, early to mid-20th century, silver supplementary weft patterning on cotton ground.
At left, a Semawa noble shows off his fighting style (1930s). The culture of Sumbawa has an interesting mix of the purely tribal and the highly refined. The Semawa for hundreds of years maintained close ties with the maritime trading kingdoms of South Sulawesi, who brought “courtly” influences to bear in the development of local culture over time. This textile’s bold silver-on-black palette and strong geometric patterns create a masculine, minimalist, yet lavish impression.
Ei Worapi woman’s tube skirt cloth, Savu Island, mid-20th century or earlier, warp ikat patterning on hand-spun cotton, natural dyes.
The bird-like motifs in white on the inner red bands are particularly striking, and the overall composition and colour strong. The people of Savu still proudly wear traditional textiles, even the young generation, as evidenced by the photograph at left.
Young woman’s tube-skirt, Kisar or Luang, Southern Maluku, early 20th century, warp ikat patterning on local hand-spun cotton, natural and aniline dyes.
The motifs of Kisar and Luang textiles are patently archaic, reflecting the persistence of ancient traditions that shape these island cultures. At left, a Kisar woman weaving an ikat skirt cloth.
