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Application of the Kelingkan Embroidery Process in Malaysia International Journal of Mechanical Engineering and Technology (IJMET) Volume 9, Issue 5, May 2018, pp. 524–530, Article ID: IJMET_09_05_057 Available online at http://iaeme.com/Home/issue/IJMET?Volume=9&Issue=5 ISSN Print: 0976-6340 and ISSN Online: 0976-6359 © IAEME Publication Scopus Indexed APPLICATION OF THE KELINGKAN EMBROIDERY PROCESS IN MALAYSIA Norhasliyana Hazlin Zainal Amri (Corresponding Author) Universiti Malaysia Kelantan, Kampus Bachok, Beg berkunci No. 01, 16300 Bachok, Kelantan, Malaysia Hamdzun Haron Pusat Citra Universiti, Universiti Kebangsaan Malaysia, 43600 UKM Bangi, Selangor, Malaysia Abdul Latif Samian Institut Alam dan Tamadun Melayu (ATMA), Universiti Kebangsaan Malaysia, 43600 UKM Bangi Selangor ABSTRACT Kelingkan is a unique Malay handicraft and artistic heritage. The refinement and detail required in the production of kelingkan demands that the embroiderer possesses a high degree of skill. In the past, kelingkan was largely produced by the Malays, especially Malay women, using metal strips coated in gold or silver, which is then embroidered onto the surface of soft cloth. In accordance to the changing times, new materials have emerged in the form of colourful metal strips, which are now available on the market. Kelingkan embroidery belongs to a group of embroidery that is used to decorate cloth. There are various unique kelingkan products that are still made to this day, but the most popular are women's shawls, which can be divided into two types, the selayah and selendang. Only 3 states still have active embroiderers, namely Sarawak, Selangor and Kelantan, but each state has a different process to reflect its own identity. To formulate the problem, two questions have arisen: (1) What is the kelingkan embroidery process in each of the three states? (2) What factors cause them to use a different process, as to reflect the identity of each state? Therefore, a study that uses the qualitative approach through field work such as observational interviews with embroiderers and collection studies. The data analysis method used is a descriptive qualitative approach, and to test the validity and reliability of the data, triangulation is used. The findings of this study concludes that the kelingkan embroidery made in Malaysia has an identity of its own with differences in terms of materials, techniques and tools used in each state. In summary, Sarawak is known for the thread count technique and the use of a frame, whereas Selangor is known for the ribbon technique in each design, and does not use of a frame. Meanwhile, In Kelantan, the sketch before embroidery method is applied without the thread count technique and with a different frame than the Sarawak one. Among the factors that http://iaeme.com/Home/journal/IJMET 524 [email protected] Norhasliyana Hazlin Zainal Amri, Hamdzun Haron and Abdul Latif Samian have influenced the differences are culture and modernity. Culture refers to the concept of ethnicity, which differentiates people based on culture and social interactions, while modernity refers to the concept of ethnicity, which relates to the world's changes, in terms of technology, inventions, fashion and the community from the past to this day. Through this research, it can be formulated that applications in the kelingkan embroidery process can reflect the identity and uniqueness of each state and it makes it easier for Malaysians to identify the origins of kelingkan. As an implication, the findings of this study can be used as a resource of knowledge so that this art form may be sustained in the lives of the Malay people. Keywords: Heritage, Malay, Kelingkan, Art of Embroidery and Handicraft Cite this Article: Norhasliyana Hazlin Zainal Amri, Hamdzun Haron and Abdul Latif Samian. Application of the Kelingkan Embroidery Process in Malaysia, International Journal of Mechanical Engineering and Technology, 9(5), 2018, pp. 524–530. http://iaeme.com/Home/issue/IJMET?Volume=9&Issue=5 1. INTRODUCTION Kelingkan embroidery is one of the traditional textile decoration arts that are still carried out on a small scale. Embroidery is a handicraft that requires thoroughness and diligence in its production. Usually, kelingkan embroidery is pioneered by Malay women, whereby most of the women today who are still continuing this tradition are Malay women of advanced age. In the past, kelingkan embroidery was initially worn by royalty and nobility, which has been historically recorded. Meanwhile, kelingkan embroidery emerged when commerce began in the early 10th century, which made the tools for kelingkan available (Suhana Sarkawi & Norhayati Ab. Rahman, 2014, 2016) and during the 14th century, kelingkan is said to have been made by the Malays while the Malay Peninsula was actively trading with foreign countries like Arab –Persia, Portuguese, China and India (Suwati,1989). The name kelingkan or keringkam originates from the Balinese word ‘Keling’ which means fabric and Kam’ or ‘Kham’ which means beautiful (Azran, 2010), while in Indonesia it is known as manto (Febby Febriyandi. Y.S., 2011) and (Suhana Sarkawi, 2014). In other countries, such as France, Turkey, India and Egypt, they are known by their own names. According to Azah (2009) the term kelingkan and keringkam originates from the French term ‘Clinquant’ which means ‘glittering”, in Turkey, it is known as ‘tel kirma’, in India 'Makaish’ and in Egypt ‘Tally’. Tally from Egypt differs from the embroidery of other countries, because traditional motifs are used in most parts of Asia or Central Asia. But in tally, most motifs are related to folk tales and the people. This diversity shows that Egyptian metal embroidery is different from all others (Nawar Messir 2009; Adline Abdul Ghani and Ros Mahwati Ahmad Zakaria 2013). The use of the name kelingkan, which is unique and originates from foreign countries, shows the influence of commerce because the same materials are used. Malaysia has 14 states but only 3 states still have active kelingkan embroiderers or producers, namely in Sarawak, Selangor and Kelantan (Norhasliyana Hazlin Zainal Amri et.al 2018). If we look at the kelingkan pieces exhibited in Malaysian museums, we will witness the refinement and beauty of the Malay community, which is reflected in the detail and neatness of kelingkan, which is different from other countries, but is similar in terms of materials. In Malaysia, the first unique feature is the difference in pronunciation, which still carries the same meaning. The differences can be seen in Sarawak, where the term used is Keringkam (Siti Zainon Ismail 2010, 1996; Dayang Sandrawati et.al 2012; Awang Azman 2010; Norseha 2014; Suhana Sarkawi & Norhayati Ab. Rahman, 2014, 2016). In Terengganu, they use the term teringkam or terekam (Siti Zainon Ismail 1994; Suhana Sarkawi & Norhayati Ab. Rahman, 2014, 2016), while in Selangor and http://iaeme.com/Home/journal/IJMET 525 [email protected] Application of the Kelingkan Embroidery Process in Malaysia Kelantan they use kelingkan (Syed Ahmad Jamal, 1992 and Rose Dahlina Rusli et.al 2015) and kelengkan (Suhana Sarkawi & Norhayati Ab. Rahman, 2016). There are also those in Kelantan who call it kelingkam and kelengkang (Suhana Sarkawi & Norhayati Ab. Rahman, 2016). The process of producing kelingkan uses metal strips coated in gold or silver, which is embroidered onto the surface of soft fabric. In accordance to changing times and advancement, new kelingkan materials emerged in the form of colourful metal strips that are available on the market. Various unique kelingkan products are still produced to this day and only 3 states still have active embroiderers, namely Sarawak, Selangor and Kelantan. Each of these states has a different process to reflect their own unique identity (Norhasliyana Hazlin Zainal Amri et.al 2018). Therefore, research must be conducted because the most pertinent issue is that the process of kelingkan embroidery is different according to each state, which has their own uniqueness. Some of the questions that have arisen are: how is the kelingkan embroidery process carried out in each of these three states? And what are the factors that cause them to use different processes that reflect the identity of each state? 2. RESEARCH METHOD The research method applied in this study is the descriptive qualitative method with a cultural approach through field work such as observational interviews with embroiderers and collection studies. Data collection began with the research introduction, documentation and understanding the research objective. The data was collected through observations, visits, formal interviews, photographs and video recordings. The field work, such as observational interviews with embroiderers and collection studies, were carried out in Malaysia, namely Kuala Lumpur, Selangor, Kelantan and Terengganu on Peninsular Malaysia, and Kuching, Sarawak. On the Peninsular, the research was conducted in The Malay Ethnology Museum, Department of Museums Malaysia, Textile Museum. Selangor Malay Culture and Heritage Corporation (PADAT), Malaysian Handicraft Development Corporation, Universiti Kebangsaan Malaysia (UKM), Universiti Putra Malaysia, Universiti Malaya (UM), Universiti Teknologi Mara (UiTM) and Universiti Malaysia Kelantan, while in Sarawak it was carried out in Textile Museum of Sarawak, Malaysian Handicraft Development Corporation Sarawak Branch and Universiti Malaysia Sarawak (UNIMAS). The interviews with active embroiderers were done in Sarawak, Selangor and Kelantan. Through these interviews and observations, kelingkan
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