Publication of this guest blog is for information only and does not indicate an endorsement of this tour by the OATG.
THE LESSER SUNDA ISLANDS OF INDONESIA
OATG member Jenny Spancake recently joined a Textile Tour of the Lesser Sunda Islands of Indonesia on which fellow OATG members David and Sue Richardson were the textile experts. Here she shares her some of her experiences:-
My husband and I moved to Kuala Lumpur in 1983. One of our first trips in the region was to Bali where a friend asked if I would buy her a piece of ikat; this was my introduction to this technique. As an embroiderer, I was fascinated with ikat and wanted to learn more about it. Living in a number of locations around the world, including around four years in Thailand and seven in total in Kuala Lumpur, I was able to learn quite a bit about the ikat textiles of Southeast Asia. However living in mainland Southeast Asia meant I focused on weft ikat, mostly done on silk, and these are the type of ikats we began to collect. With travels to India, Central and South America and Central Asia, I broadened the base of that knowledge. What was needed to close the circle of study was a trip to the islands of Indonesia.
The perfect opportunity came in May 2019 with a trip to the Lesser Sunda Islands with David and Sue Richardson. As these islands we visited are part of the province of Indonesia known as Nusa Tenggara Timur I will refer to them as NTT. Traveling with the Richardsons was a good choice for us as they are very willing to share the knowledge of Indonesia and its textiles that they have gained over many years. The Richardsons focus on the textile techniques and visit only villages that still do natural dyeing. As my husband’s undergraduate degree is in Chemical Engineering, he was eager to travel with someone as interested in the chemistry of natural dyes as David Richardson is. The islands of NTT were perfect – a gorgeous landscape with fascinating textiles still woven in the traditional way with natural dyes.
Cotton threads which were bound with strips of a palm leaf and then dyed indigo.
At each village we visited we were welcomed by villagers dressed in their traditional costume, dancing their traditional dances and perhaps the most unexpected joy, playing their traditional music. Videos truly are the only way to capture the magic of these moments. The music is not heard looking at pictures in books and the music is the way the spirit of the village is actually captured. We were entertained in one village by a man playing the hoe as the main performer. In still another village, it was obvious that when they had done the planned program, they continued to play and sing for the sheer joy of the music. These are the moments that only visiting in person can provide.
This man was having such fun and creating great sounds just by hitting his hoe with a stone!
A visit to the village of Lamalera was of twofold interest – of course, we saw textiles. But we also talked to the villagers about their traditional livelihood of whaling and saw a demonstration of how they actually practice it. It is very easy for us in the West to see whaling as only the large scale enterprise that has a negative impact on the existence of whales. We forget that traditionally villages existed in harmony with the environment and depended and still depend on the whales for food and products. Risking their lives to harpoon a whale is a different way of life. The number of whales taken by a village is also a small fraction of that worldwide. [Editor’s note: this is the village where OATG founder Ruth Barnes did much of her research].
A demonstration of traditional whaling from a small boat at Lamalera.
In every village we saw demonstrations of the entire process of creating a textile from picking the cotton, processing it, spinning, dyeing, tying, and then the weaving process. In NTT textiles are produced in cotton in the warp ikat technique. As stated above, one of the things that most appealed to us about this tour was its emphasis on natural dyeing. Natural dyes are making a comeback in some parts of the world, but it is in fact an uphill battle. It is more expensive to use natural dyes because it takes more time to create the desired color. Synthetic dyes are much quicker, so cheaper in the long run when the final price of the piece is considered. In today’s market it is difficult for a weaver to charge a price that reflects the extra time spent in using natural dyes. Also part of the price must reflect the time it takes to produce a multi-colored complex design in ikat. Therefore, what tourists generally see are textiles produced with synthetic colors and a very simple ikat design – which exactly describes my first purchase. But as I learned more about ikat and dyes, I began to desire the more complex, naturally dyed examples. Steve and I have always tried to buy the most well produced pieces as we travel to encourage women to keep weaving at a high quality. Weavers must be able to earn a fair wage so that traditional textiles can continue to be made.
Patterns showing naga, which is very traditional in many parts of Southeast Asia.
I plan to describe just a few interesting experiences from the trip. First, natural dyeing involves a complicated chemical process. Dyers in the villages use both inherited knowledge plus trial and error today to create a wide range of colors. In NTT the two major colors are indigo (blue) and morinda (red). It is very interesting to see that each village had its own variation on using these dyes. Indigo is perhaps one of the most common dyes used around the world. Morinda is less well known and I will concentrate on this dye.
Threads dyed with morinda at a workshop on Timor.
Please note that I have used the website of David and Sue Richardson, Asian Textile Studies, as my source for the information detailed here. A great deal more information is included on that website than I will present here. On this trip we saw very detailed demonstrations of how red and brown colors are achieved by using this dye. This can take a huge amount of root to complete the process to achieve the color desired for the finished textile. Once the bark is collected and prepared to begin to dye, a complex process begins. Cotton that is to be dyed with morinda must be pretreated and a mordant must be used to fix the color. In NTT the most frequently used mordant is the leaf or bark of the tree belonging to the genus Symplocos. I was intrigued to learn that what made this possible was that the tree draws aluminium from the soil and accumulates it in the leaves and bark. Once processed these produce aluminium salts that then act as a mordant.
However, this process does not work unless the cotton is prepared before the dye made from morinda is applied. The first part of this preparatory process is cleaning the cotton. This is done by washing the yarn in water filtered through wood ash, thus creating an alkaline solution. Then the cotton must be soaked in oil made from the candlenut tree, widely known as kemiri. Oil is produced from the candlenuts themselves. I have just described in a very simplistic way how cotton is dyed with morinda; for those interested in more detail and the chemistry of this process, please consult the morinda page of the Richardson’s website. The final process of any dyeing sequence is to rinse the cotton in water and here was the insight that interested me most. I had of course read about the dramatic difference credited to the water of certain production areas when oriental rugs are woven and then washed after their completion. But for some reason I never carried that thought on to natural dyes and cotton and silk textiles. It was one of those ideas that floats around in your mind but then one day you suddenly say, “Of course, the water is the final important piece of the dyeing puzzle.” Water is a localized issue; each source of water has its own particular chemical makeup and the minerals present are the final creator of the color produced by the natural dye in question. Pointed out by the Richardsons on this trip, I finally saw the obvious.
Adding alkaline ash water to the morinda dye bath.
Although the main colors that we saw produced were blue and red from indigo and morinda, on one particular island we saw an astonishing array of different colors – all from natural dyes. This was on the tiny island of Ternate where we saw how they made dyes from a huge variety of plants as well as sea sponges and, most fascinating of all, a gastropod called a sea hare. We were told they had dived at 5am to get these creatures, which release purple ink as a defense mechanism. The innards are also used to make a pale green color and finally the sea hare is cooked and eaten so nothing is wasted.
An amazing demonstration of dyeing on Ternate.
Another highlight was our visit to the workshop of Freddy Hambuwali on Sumba. Modern hinggi, a man’s cloth with a long history, are created with a very high standard of warp ikat and finishing. We were able to see all of these steps, beginning with the drawing of the pattern on the warps. I was particularly interested in the beautiful shade of indigo blue produced here. The ikat threads are dyed with indigo and morinda but a different method is used in Sumba to add a yellow dye – it is painted on after the weaving of the hinggi. Another Sumbanese method is used to finish the hinggi; the hinggi is turned and the warp threads become the weft as a band called a kabakil is woven on to the bottom to create a finished end to stop the threads from unraveling.
The hinggi produced here are very detailed and are made in a wide variety of designs. We also learned about the computation of bundles of threads to facilitate the process of tying and dyeing. I myself was most attracted to the hinggi that are so obviously based on the patterns of Indian patola cloths. These patola have been a high status cloth in Indonesia for hundreds of years and are preserved as heirlooms in many households in the islands. The layout of many Indonesian textiles can be seen to originate in the design of patola. Involving complex ikat, these hinggi were for me personally the most interesting ones.
I have oversimplified all of the aspects of weaving and dyeing just briefly mentioned here and have omitted so much, especially the supplementary warp weaving techniques we encountered.
Supplementary warp weaving on Sumba. Here we are being shown how the pattern is kept on sticks.
And I have not even begun to describe all of the villages visited, the many rewarding encounters with villagers and all that I learned. I relaxed on the beautiful Ombak Putih with its attentive crew, delicious food and comfortable cabins, learned so many new things about textiles, experienced new cultures in majestic landscapes and made new friends. I doubt one can ask for more in life.
What I really wanted to express to readers is the great joy that I experienced throughout this trip, which is extremely well designed and lends itself to a constant learning experience. We’ve been on many textile tours, quite a few led by textile experts, but none of these leaders have ever been so generous with their knowledge as David and Sue – they love Indonesian culture so much it’s infectious and inspires you to want to learn more We’re always looking for trips that focus on textiles and this one exceeded our expectations.