1.Why do you think it's important to preserve the textile
arts of Indonesia?
Textiles are inseparable from culture because of the way textiles
are used by traditional people in ceremonies. Textiles are
one of the strongest forms of artistic expressions to emerge
from the traditional cultures of our country. Textiles have
many functions and meanings for traditional peoples and are
used as daily dress, dance costumes and even as ceremonial
objects. In eastern Indonesia textiles are an essential element
of the goods exchanged between families during a marriage.
Textile motifs can identify the social status or clan origins
of the wearer. Textiles held asheirlooms may come to be regarded
as channels through which the presence of the ancestors can
be experienced by their descendents. Also, the motifs of textiles
used to wrap the dead may help identify the deceased to their
ancestors. When a textile tradition is lost the extinction
of a culture will follow.
2. How did you first get the idea of starting the Threads
of Life textile arts center?
Threads of Life was started in 1997 at the time of the economic
crisis. We were leading tour groups to eastern Indonesia and
saw how people were selling heirloom textiles and other artifacts
to passing tourists to pay for school fees and medical bills.
Left unchecked, this was threatening some textile arts with
extinction. Inspiration for new cloth is drawn from old pieces,
so when these antiques are no longer available how does the
art continue? In anticipation of this, we gathered a number
of women weavers to dialogue about these problems. We found
that their traditions were moments away from extinction and
they committed to continue the art with our support. With
the help of a local intermediary chosen by the women to maintain
correspondence with us in Bali, we began commissioning textiles.
Of the twelve members in that original group only four were
accomplished weavers and natural dyers; the rest became students.
For our part, we stressed that team spirit and cooperation
were as important as quality of work, knowing that competition
and jealousy would destroy the group before it was even established.
3. In your mind, are there any textile weaving arts that are
on the brink of extinction?
It is not difficult to find textile traditions that are in
a critical condition. There are many throughout Indonesia.
In Bali, cepuk textiles were once made in Singaraja, Tabanan
and Nusa Penida. However, the tradition only continues in
Nusa Penida, even though this cloth is among those still needed
ceremonially throughout Bali. Many factors have created this
situation. Perhaps the two most important are: abandoning
the use of natural dyes, which are considered expensive and
difficult to use, and their replacement with cheap and easy
to use chemical dyes; and the replacement of handspun thread
with commercially spun cotton. Apart from the long-term health
dangers of using chemical dyes, which are rarely discussed,
the danger from losing natural dye and handspun thread production
lies in the decline of local participation in textile production.
Without participation there is no sense of community ownership
in the textile arts or the cultures they express.
4.What is arguably the rarest textile tradition still alive
in Indonesia today? What are the most expensive Indonesian
cloths on the market today?
There are some traditional communities I know of where only
a few people still hold heirloom cloths. These could be described
as the most rare or endangered traditions. I don’t wish
to say where these are because I worry that collectors will
then target these areas. Even where weaving is still strong,
if the heirlooms are all lost the vocabulary of motifs held
within a community will diminish and the standard of production
will fall for lack of traditional benchmarks. Within this
context, price becomes the most sensitive issue: once a high
price for heirlooms is established everyone willbe racing
to sell their pieces. This is especially so for young people
who are easily influenced and do not think of the effects
of their actions.
5.What is the most difficult weaving tradition still practiced
in Indonesia today?
The issue of difficulty in the weaving arts is relative as
every region has its own unique skill. For example, some weavers
from West Timor will be over-awed by ikat work from Sumba
or the double-ikat geringsing cloth from Tenganan in Bali,
whereas weavers from Sumba and Tenganan will be astounded
by the detailed and time-consuming supplementary buna work
from Timor.
6.What are the rarest cloths, exhibits or samples that you
have at the Threads of Life gallery?
None of the cloths we have at the gallery are rare. They may
take a long time to make — sometimes up to two years
— but they continue to be made. Even when we run out
of stock from a community we do not speed up production. These
textiles are works of art and we ask the weavers to work only
when they feel focused. We just have to be patient, as do
our customers. There are, however, many textile traditions
that receive no support from us or other organizations. Perhaps
we could say that the most endangered cloths are from these
traditions.
7. Can you give any advice to people wanting to buy or collect
traditional textiles like ikat?
To understand textiles you must see, feel and experience the
cloth directly. The more you do this, the more you will understand.
If possible, visit the weavers yourself and see how they work
and live. This person-to-person contact is what keeps the
art alive. If you cannot do this, perhaps come to the Threads
of Life gallery where we offer classes and workshops, present
educational exhibits, and where our well informed staff can
explain the various textile arts.
For more information, contact the Threads of Life Gallery,
24 Jalan Kajeng, Ubud (open 10am—6pm Mon.—Sat.),
tel. (0361) 972187, fax. (0361) 976582, website: www.threadsoflife.com
<http://www.threadsoflife.com/» .
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Copyright#2004 Al Hickey
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