May 2018: Part 3 of The Lesser Sunda Islands trip/ The Limestone Islands.

This post follows on from the previous one. It is a record of my experiences on a textile research trip to the Lesser Sunda Islands hosted by Sea Trek.

From Lembata Island we head south across the Sunda Straight to West Timor. (see map from Part 1). From there we’ll be heading west to create a loop that will eventually take us back to Flores.

The landscape changes. The mountains are less steep. No more volcanoes to be seen. Accessibility to plant materials for dyeing appears to be impacted.

I had been to West Timor in 2007- that’s 11 years ago. I wondered what Sue and David Richardson had planned for us to visit and whether I’d see any change.

We landed in Kupang and traveled in this bus.

We visited the Bolok weaving group and saw an extensive dye demonstration. Here an essential ingredient in morinda production, symplocos can’t be grown and candlenut may not be accessible. The conditions just aren’t right for the symplosos so they have to buy it in. In this case in a powdered form. Candlenut may be replaced by nita nut. More to follow in the technical notes in another blog,

We also visited the Museum of Nusa Tenggara Timor with some great displays of textiles.

Then it was onto Baun (Kelompok Kai Ne’e)  and then Barat . Our destination was to an audience with the King and Queen of Amarasi in their Royal Pavillion. The king and queen are in the background while the children perform an opening ceremony.

After the reception we were taken to the complex where we saw textiles and a demonstration of papermaking. I had been here before.  My impression is that it was now a much more active and viable community. It seemed much more prosperous than what I remembered.

This is the royal motif being woven, interspersed with some float work stripes. Note that the additional design element is being picked up as it is being woven.

At the nearby village of Barat we saw yarn skeins of yarn in an extensive colour way. This is just one section of line.

There were also a variety of textile techniques.

There was ikat with lots of morinda, though there was some pale indigo too. The designs were bold. Obviously the design is popular or they have an outlet requiring textiles of the same design. It had a commercial feel.

 

There was also some warp float work done on alternating coloured warp threads. On one side there were warp floats while on the back there were weft floats. Note the appearance of uncut circular warps. From my previous trip, I knew that this was a way of identifying desirable new textiles. There were other designs but it is interesting to note that the design while woven individually is the same.

The patterning was very familiar and it stirred memories of other great textiles and interesting techniques I’d seen in 2007. Maybe I need to come back again. It was only a fleeting one day visit.

We sailed west to Sawu or with an alternate spelling: Savu. Here we visited Ledatadu and Namata. Here was another demonstration and with a couple of noteworthy aspects. Here they were removing the seeds from cotton not with a gin but rather by rolling the fibre on a piece of wood with a round stick.

Plied cotton in 2 colours is used as an extra design element in a stripe.

Some areas of bound ikat were being hand painted. This enables isolated areas of motif being dyed as opposed to whole areas being bound and redyed in the required dyebath. The process is repeated at least 4 times with drying time required between each application.

The motifs in the textiles to have an elegance and to be quite refined.

 

These children in their ikats are just too good not to share.

As well as warp ikat there was some textiles using float work (warp floats on the front and weft on the back)

The village of Namata provided us with a dance performance. It was a chance to check out the textiles.

And of course there was another opportunity to buy. There was evidence of more chemical dyes used for the ikat. This piece has a more contemporary feel.

On Raijua Island we visited two textile villages: Uoja Dima and Namo. It was the second village that proved the most interesting.

There was another indigo demonstration. Until now we had seen only indigo being used from fresh leaves. We were told that because of the “extended drought” indigo was being converted into indigo paste. There will be more on this actual process in a later blog. I suspect perhaps that it is an effect of living on the “limestone islands” with what I understand is their lower rainfall. It seems a well-entrenched process.

Cotton is spun using the drop spindle in a different manner: “upside down”.

The textile motifs here remind me very much of damask patterns from Europe.

There is also a strong Dutch influence. Note the crowns and the KN which stands for Koningsland der Nederlands or Kingdom of the Netherlands

We also saw these solid indigo dyed cloths with tie dye patterning. We were told that these are often worn for funerals and other important ceremonies.

Our last island was Sumba. These textiles were one of the reasons I’d joined this trip. They didn’t disappoint. We visited the villages of Uma Bara (King of Pau), Pau and Rindi, Waingapu as well as the studio: Tenun Ikat Sumba at Prailiu. Freddy, the owner acted as our guide for the time on Sumba.

Here’s some background to the social hierarchy. Sumba has “slaves”. They can never move up the social ladder. They can never own land. The children will also be “slaves”. However if they weave and sell textiles they do get the money. Some textiles are sold as being done by royalty. This may mean that they are produced by the “slaves” of that royal. The word “slave” didn’t seem to imply that they were abused but rather describes a position in society.

The importance of textiles in that community was confirmed. We saw a burial tombs for royalty. There was often a weaver carved into the stone as well as other auspicious objects.

When a royal person dies, the body is wrapped in a foetal position and over time till an auspicious date for the burial textiles will be added. This princess has been covered with 75 textiles in 6 months. The burial we were told will probably be in September at which time there will have been many more textiles added. Apparently the best two textiles will be next to the body and on the outside. A slave always sits with the body.

We saw demonstrations of dyeing at Freddy’s studio. I’ll note now that indigo paste was also used, however actual technical details will come later.

There are two main textile techniques: ikat and weaving with supplementary warps. They may be on their own or combined. The actual technique of weaving with the supplementary warps will be covered later. These are the textiles. The motifs are often strong and bold.

I love the large scale motifs found on the ikat. Here are a couple of examples.

 

 

Just blue but look at the complexity and detail with shades of blue.

This one is just a bit extreme though it did make me smile.

Supplementary warp fabrics are different on both sides. The front imagery is definite with the back having the negative design but with long floats being tied down at regular intervals. The back can just be seen on the underneath fabric. This image also shows the stored pattern behind the heddles on the left. The weaving edge is not shown. As the fabric is woven, the supplementary warp is not used at the same rate as the background fabric. To take up the slack and to control tension, it is wound onto extra sticks. This is the roll of sticks on top of the loom. The full process will be shown in a later blog. The colour showing behind the heddles is not a dyed warp but rather the background warp showing through.

 

 

 

A fuller look at the two sides of the fabric. The wrong side looks as though it has lines in the design.

 

 

Supplementary warp on a striped warp woven beside ikat for a woman’s tube skirt. The top fabric is woven separately and joined.

After weaving, the supplementary warp fabric may be hand coloured.

 

Lastly, here’s an interesting fringe treatment. A weaver sits with a small circular warp and the fringe of a completed weaving is woven as the weft. Here’s a completed fabric. The warp of the finished narrow weaving is just cut. The remaining original fringe is then plied.

The next blog covers all those technical details I’ve been promising.

2 Responses to May 2018: Part 3 of The Lesser Sunda Islands trip/ The Limestone Islands.

  1. web page says:

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