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Januarymarch2010.Pdf CONTENTS 2 Editorial 3 A Word From the SCC 4 Indonesian Batik as Head Adornment 6 Duck Mobiles & Bean People 9 Rainforest World Crafts Bazaar T-Shirt–2010 Competition 10 Batik-Style Silk Painting in Sarawak 13 A Page of History 14 What’s On in the World of Crafts 14 Where to buy... KEEPING RECORDS The classic literature on Southeast Asia, written before the 20th Recording the use of new materials, and how they worked out century, contains surprisingly little detailed information about in practice, is part of the documentation we need. In the case handicrafts. Most articles of daily use were hand-produced by of dyes, for instance, does the ceremonial for making dyes still women – textile and fibre crafts, beadwork, earthenware pottery apply if chemical dye stuffs are used? Is dyeing still a communal for home consumption. The explorers and administrators of activity, or can each weaver dye her warps in the privacy of her the past, right into the early 20th century, were more likely to own kitchen? describe smith-craft and weapons, or woodwork like house- building and boat-making. In the 60s some weavers used embroidery cotton to work the ornamental patterns in anyam textiles, but the resulting The authors of these early books on Borneo were bound by stiff fabric wasn’t practical for women’s skirts. Gold thread social restrictions, of course. On their travels they interacted is commonly woven into anyam fabrics nowadays, popular mainly with men; they had no business to intrude into the because of its glittery appearance but liable to snag if such a women’s domain inside the family rooms. If they were skirt is worn a lot. A new development is the addition of gold government officials, exact details of weaponry and boats thread to the weft of ikat fabrics, a practice which seems to be – potential war boats! – were of more interest than mats and popular with some buyers, but considered poor taste by others. baskets. Today, what scant written information about the history Textile students of the future will want to know where these of our material culture exists is closely scrutinized by modern innovations were first used, who introduced them, and how researchers. Together with the few artifacts that have stood the they were accepted by the majority of weavers. test of time, many of them in museums, these sources allow us to study not just crafts, but the history of crafts. Basket-workers have started utilizing the tough plastic bands used for commercial packaging. Some only produce rough This issue of CRAFTS is devoted in part to the ancient art of utility containers from this modern material, others apply batik. There is an early 19th-century description of the process their traditional skill to making finely finished baskets in many (p. 13), another by a contemporary Indonesian author (pp. colours. One seasoned basket-worker and mat-maker in Miri 4–5), and a third describes recent developments in Sarawak who gives lessons in traditional crafts uses the comparatively (pp.10–11). It is encouraging to know that crafts are researched cheap, easily obtainable material while teaching beginners. and documented nowadays. It is essential to know not just what Once they gain better skills they ‘graduate’ to pandan, bemban used to be produced in the past, or what is happening now. and rattan (for a report, read our next issue). Rolled-up or We also need to understand the developments that produced folded strips of paper (magazines or newspapers) are plaited today’s craft scene, which is ever-changing. and woven into a variety of containers and mats too; this new craft enjoys an international following. The small glass beads Take fabric dyes as an example. The venerable art of pua- traditionally used for making bead fabrics are still very popular, making, from spinning the thread to weaving the tie-dyed warp, but a new type of plastic bead, somewhat larger than the ‘craft has been well documented by a number of competent local beads’, is taking the local bead scene by storm. researchers. The plant-based dyes have been carefully analysed; in the course of their work some hands-on researchers have Is anybody keeping track of these new trends in Sarawak? Every innovation, ones that proved successful as well as ones come up with innovations, the experimental use of new dye Top & Right: plants for instance. which were discarded after a short trial, needs to be recorded. Indonesian Batik Information and input about new craft trends or ideas from One new development is the use of artificial dyes. In the 1960s our readers would be welcome. Twenty years from now, some weavers began to opt for the easy-to-use powder dyes when possibly other new fibres are used for traditional-style which were becoming available even in up-country bazaars. handicrafts, it will be useful to know when, and how, packing The results were considered unsatisfactory. For one thing the bands or plastic beads first became popular. The past yields colours fade, for another they do not replicate the traditional clues to the future. hues very well. Other, better dyes turned up in the market later, often introduced by handicrafts agencies. CRAFTS is published by Crafthub Sdn. Bhd. for the Sarawak Craft Council (SCC). Opinions expressed by contributors to CRAFTS are not necessarily those of the SCC or Crafthub. The contents of CRAFTS may not be reproduced in any medium without prior written permission. Feedback is always welcome, write to us (address on back cover), email crafthub@ gmail.com or visit our website www.crafthub.com.my Would you like your craft event to appear in our What’s On… free listing? Would you like to advertise? Email Freya at: [email protected] Editor: Heidi Munan Publication Manager: Freya Martin Contributors: Lucy Abey, Reynold Ahviet, Annette Bessant, Cynthia Lobato Printed by Bahagia Press Sdn Bhd, Lot 225 Section 49, Jln Padungan Utara, 93100 Kuching Published by Crafthub Sdn Bhd, 1st Floor, 96 Main Bazaar, 93000 Kuching ISSN 1985-7357, Cover: Mr. Deudney working on Sarawak pareo design. Photo by Annette Bessant. On 27 September, Crafthub hosted a dinner for Ms Susanne Kampp (front left) who led a group of Danish basket-makers to share lore and craft with the Iban ladies of Ng. Sumpah in the Ulu Ai region. 2 A word from... The Sarawak Craft Council by Reynold Ahviet Bamboo Workshop in Similajau National Park The Coin Box and Key Chain from Bamboo Workshop held last year in Similajau National Park is one of the many workshops that are planned and run by the Sarawak Craft Council in order to nurture the love of arts and crafts in beginners. We know that there are a lot of people out there who want to try their hand at various crafts, but don’t know exactly how to begin. The objective of this workshop (and others like it) is to introduce people to a particular craft, provide expert instruction and through this process produce highly skilled craftspeople who will go on to make good quality crafts products – in this case bamboo coin boxes and key chains – as a livelihood. Bamboo products are currently selling very well in the local market, and it is a well-known craft of the Bidayuh community in Sarawak. Fifteen participants were selected by the Sarawak Craft Council to attend this particular workshop. Most of them were from Sg. Asap resettlement, Belaga, and Sarikei town. The workshop was held at Similajau National Park in a classroom setting. This type of venue is stress free because participants can focus on and enjoy nature while learning to hone their bamboo craft skills. The trainer at this workshop was En. Edwin Sijan (bottom right) from Kampung Pichin Serian. He has been in the bamboo craft business for more than 10 years and he also owns his very own bamboo workshop based at his home where he produces a variety of bamboo products. The Sarawak Craft Council chose him because of his expertise and his willingness to share his skills with others. Crucially, despite all the fun we had throughout the course, participants managed to acquire the vital skills as taught by the trainer so that they are now able to make both bamboo coin boxes and key chains. And it was no surprise when most of the participants told us that they couldn’t wait for the next workshop! Top & Right: Indonesian Batik The Sarawak Craft Council The SCC promotes the State’s ethnic handicrafts, both to preserve a priceless artistic heritage and to improve the artisans’ livelihood. The predominantly rural craftworkers now have a realistic option to augment their income from agriculture. The Craft Council coordinates the activities of government and private entities involved in handicraft development in Sarawak. Mission Statement The Sarawak Craft Council provides leadership in the development and enhancement of the handicaft industry in Sarawak. Objective To develop the handicraft industry into a more coordinated and progressive enterprise that will complement the needs of the tourism industry. Our guest of honour, Toh Puan Datuk Patinggi Hajah Norkiah The SCC building above, situated next to The Old Courthouse in Kuching, has a quality crafts shop on the ground floor which is open from 8.30am-4.30pm, Monday to Friday. 3 Our fashion show! Indonesian Batik as Head Adornment by De Gayantina Thamrin “Batik is a Javanese term for a selective dyeing technique using wax to produce coloured patterns. It has been used in India, Sri Lanka, China, South East Asia and West Africa. In Java this craft has reached the highest level of refinement.
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