This blog continues my experiences of the textile research trip to the Lesser Sunda Islands by Sea Trek. It will be the final in this series. This blog covers all aspects of weaving.
Back strap looms are nothing if not portable. They can be easily packed up at the end of the day and put away. They can be easily transported and set up somewhere else. All you need is some sort of structure to anchor it too. The other end is attached by a strap to a means (fabric or carved support) that when passed around the back of the weaver allows tension to be created. By bending forward, tension is removed, allowing the weaver to change a shafts. Here you see the basic elements: the frame provides both a seat and a means of slotting in the back beam. There’s the back strap ready to be put around the back of the weaver. Note that not all back strap looms have a frame. Sometimes it’s just a couple of posts in the ground.
The loom may fit into an existing structure or be tied to one.
The length of the actual loom correlates to the length of the weaving. One end will be anchored by a physical means, the other by the body. This warp must have a very long loom.
A weaver must be able to create good tension. To facilitate this, she or he must be able to push against the opposite end. Here extra pieces of wood have been put to shorten the distance.
How looms are actually used in daily life can only be seen when you look at home. Often they are outside under some sort of roof or under a house. Sometimes they are in a favourite location. It is probably unlikely that the looms used in demonstrations are usually used on this site. On a wander around Umapura, Bettes and I came across a woman weaving beside a man making a canoe. It was away from the area where the demonstrations and selling were so one could suppose that this site may be used often. I was pleased that we both had an opportunity to weave. We realised how heavy the weaving was to lift to clear each shed or row of weaving. That warp is very dense and there were a lot of threads.
All weaving is done on a circular warp, resulting in only a small gap where it cannot be woven. Only one item is woven at a time.
Making sure everything is aligned when it is on the loom is the tricky bit. I have 5 warps and they are all secured differently to go on the loom.. From top to bottom the first is tightly bound at the top end and individual sections are loosely tied at the bottom. There are multiple warps here with different lengths, thereby indicating several projects. The second is woven at the top at the top , and loosely tied at the bottom with a short stick attached that would float. That might be useful in dyeing of finding the opposite end. The third is undone ready to go on the loom and only has a tight tie at one end. The forth has 10 short sticks bound along the length. The last also has sticks bound along the length and an additional series of knots across the top. All the weavers will have developed skills in how to make the imagery stay in place when it is put on the loom.
Here they are put onto a frame to be organised.
Once everything is aligned heddles need to be made so that every alternate thread will lift. This diagram explains the basics. Note that one heddle is made for every 4 threads or every 2 on the top. The heddle may be made over any combination of sticks or a single thick thread to create a required length. We saw quite a bit of variation. Sometimes there was a rod underneath to make sure the bottom layer remained isolated from the top.
This video shows combining two warps, separating out the ikat threads making heddles and then adding in an extra solid colour warp with again their appropriate heddles.
Sticks and rods are inserted to enable the creation of the two sheds or the gap between one set of threads being up of down. This gap is where the weft yarn will be inserted. This yarn is often wound onto a long straight stick. In some places it will be used like this. At others, it may be inserted into a hollow tube. This video shows ikat being woven at Freddy’s studio in Sumba. There was an interesting variation here that we saw no where else: the fabric was beaten. That may be to loosen the threads and ensure they don’t catch with its neighbour. Note how much the warp slides forward sue to the force of beating with the sword. It needs to be continually pushed back.
When ikat is not a component and only plain weave is required or supplementary warps are used, it is possible to wind the warp and make the heddles at the same time.
Weaving pahikung (the name it’s called here) or with a supplementary warp.
This is an example to show the basic characteristics.: a clean finely detailed image on the front with the long floats tied down in a horizontal line at the back.
The supplementary warp is much thicker than the background thread. It appears that it is wound at a 1: 2 ratio. We did not see how the warp is made but I suspect that it uses a similar process to ikat with the additional warp being added at the same time. Perhaps 3 balls of yarn were used. We have seen 4 being used for ikat. Heddles will need to be made for the background fabric. Again we didn’t see this done but perhaps it is most logical to expect this to be done while the fabric is being warped.(as for ikat or a solid colour)
The design is picked up and stored on narrow very narrow sticks. They must be narrow as a lot of them may be required. The weaver here has an existing stored pattern on her lay. A long pin marks her current spot.
If the pattern required 2 stored patterns, one is completed first and then the other.
Sometimes you can find old stored patterns in a market or being sold by a trader.
This image shows the basic components to weave pahikung. From the front of the loom. On top of the weaving, there’s a temple or stick with points on the end to keep the weaving at the same with. This was used universally. Sometimes it may be placed under the weaving. It is constantly moved at very small intervals for the length of the weaving. A sword opens a gap (shed) to allow for the passage of the shuttle. Then there is the rod with all the heddles. A large diameter bamboo stick which is used to create the other shed. A series of sticks of the same width that hold the transferred pattern. A set of heddles that are used for the tie down row. A number of very fine sticks that store the pattern.
During weaving the stored pattern is moved to the front of the loom behind the heddles. They are moved forward and used in conjunction with the plain weave lifts underneath. At a regular intervals the ground weave anchors down the floating warp threads on the back of the weaving. As weaving progresses the supplementary warp because it is not used all the time as the plain weave fabric will lose tension and become slack. When this happens extra sticks are inserted to take up the tension. By the end of the project, quite a roll of sticks will be on the top of the weaving. On a western style loom, we would use either a second warp beam or some system of weights to ensure even tension is maintained throughout. This image shows the bundle of stick that take up the tension. All the pattern sticks have been used. A new set will need to be brought forward.
This movie shows transferring the pattern to the front where it becomes usable, tightening the tension and weaving. Note how the weaver has to keep moving the weaving edge back. It keeps moving forward due to the force of the beat used. This is a very dense fabric.
Here are two unusual finishes. This decorative fringe was seen on textiles in Lamalera. (Lambata)
We saw several Sumba textiles with this woven fringe.
The warp of the textile becomes a secondary weft. Once the first textile is cut from the loom, it is turned and the warp becomes a weft for a second narrow circular warp on a back strap loom.
We were told that often beginner weavers do these. There’s quite a skill to keep the lower edge of the main textile from pulling in.
Once finished the second warp is left cut. And the left over fringe is then plied.
This movie shows the weaving.
I have seen dyeing. How many ways can you dye with indigo and morinda? And then there was that feast of colour at Umapura. I have enjoyed seeing how textiles are produced and enjoyed the challenge of understanding process. There was a wonderful range of textiles. I have come to an appreciation of the diversity of regional cloth (especially as it was all woven on a back strap loom), its motifs and its role in daily life. It has been a wonderful experience and I feel fortunate in having been there. And that boat- what a magical experience! It really wouldn’t have been possible to go there to all those islands and weaving villages in such a space of time apart from by sea.