2001_AR415_Craft Analysis by Fahmi Zainazlan

TEXTI LES ByGr oup1

bati k

T heÂ wor dBa t i korMba t i ki sac ombi na t i onofDut c h, ' Amba ' or' t owr i t e' a ndMa l a yt i t i kwhi c hmea nsdotor poi nt . Ba t i ki sat ec hni quewhi c hor i gi na t edf r om J a v a .

I ti sa na r tofdec or a t i ngc l ot hwi t ht heus eofwa x r es i s t i ng dy ei ng a ppl i ed t oc l ot ht oc r ea t eawel l dec or a t edc l ot hes .

I ti sbel i ev edt ha tt hee x i s t enc e of Ba t i kha sbeen a r oundf ormor et ha n2000y ea r sa gowher et he or i gi ni t s el f i ss c a t t er edt hr oughoutF a rE a s t , Mi ddl e E a s ta ndCent r a l As i a . Henc e , ma nyc ount r i esc l a i m t obet hepi oneerofma k i ngBa t i k .

Ba t i ki st heni nt r oduc edi nMa l a y s i ai n16t hc ent ur y t hr ought r a di ngbet weenJ a v a .

E a c hoft hes ec l ot hess ha r es i mi l a r i t i es i nt er msof s ur f a c eofc ov er a gea .Des pi t et hedi f f er enc esi n how ea c hc ul t ur ec r ea t ed a nd wea rt hei rown c l ot hes ,t heel ementofMot i f sa r ec l ea r l yv i s i bl e wi t hi nea c hc l ot hes .Oneoft hemos tpr omi nent mot i ft ha tc a nbes eeni nea c hc l ot hesi st hef l or a l mot i f swher eea c hc l ot hesha st hei rowndes i gn ba s edont hei rownc ul t ur ea ndl oc a t i on.

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BLOCKPRI NTI NGMETHOD

HANDDRAWNBATI K

Amet hodt hatus eabl oc kc ar v edwi t hpat t er nst hendi ppedi nwax ands t ampedont of abr i c .

Handdr awnBat i ki sal s oknownasBat i kCant i ng

Thebl oc k swi t hpat t er nar eus ual l ymadeofz i ncandc opper . Thewax wi l l ber emov edandbat i kwi t hs i ngl ec ol our edi spr oduc ed. Pr oc es sof wax i ngwi t hdi f f er entbl oc k s ,dy i nganddewax i ngha v et obedone manyt i mest oc r eat emul t i c ol our sandc ompl exbat i k.

I nt hi smet hod ofBat i k maki ng,hotwax( Cant i ng)i sus ed i na penl i ket oolofbr as st o bedr awn i nt ot hef abr i cwi t h ades i r ed pat t er n.

themaki ngofbati k

Cot t on, r a y on, l i nen, v oi l ea nds i l kus ed.

Ar t i s a nwoul dnor ma l l ypr a c t i c eonemet hodei t her ha nddr a wnorbl oc kpr i nt i ng.

Us ua l l ypr oduc edi n4met r es ( women’ swea r )l engt h or2met r es( men’ swea r ) l engt h.

T hes ek nowl edgeofma k i ngBa t i ka r eus ua l l ypa s s ed downf r om t hei rownf a mi l yes pec i a l l yi ft hei rf a mi l y

Al s oma dei nt os c a r v es , pa r eos , c r a f t a nsa ndev ena s

a r ei nv ov l edwi t hBa t i kma k i ngi ndus t r y .

f r a meda r t . T her ea r es omea r t i s a nst ha tl ea r nedt hi spr oc es s Pr oc es si sv er ys l owa ndt i mec ons umi ng.

t hr oughwor k i nge x per i enc e .

ee x pens i v ea nde x c l us i v e . Mor

di fferences

analysi s

Cot t oni sapopul a rf a br i cus ed. T hemet hodofc r ea t i ngBa t i ki shea v i l yi n uenc edby Us ua l l ypr oduc edi n20met r es ,dependi ngont he

Cus t omer ’ sdema nd.

or i gi na l s i z eoff a br i c . / /Ha nddr a wnpr oduc edas of ta nds moot hmot i f son S i mi l a rs ha pesorpa t t er nsa r er epea t edonapi ec eof

aBa t i k . Henc e , i ti swel l dema ndeda mongCus t omer s

f a br i c . / /Bl oc kpr i nt edus ua l l yha v eedgya nds ha r pl ooka nd Pr oc es si sf a s t er a nd mor es ui t a bl ef or ma s s

i ti squi t er a r ef ors uc hBa t i kt oga i na t t ent i onf r om

pr oduc t i on.

c us t omer st hes eda y s

i dea& aestheti cofbati k Aes t het i c ,ori n Ba ha s aMa l a y s i awor d,“ es t et i k ”or “ es t et i k a ” . T her ea r eot hers i mi l a rMa l a ywor dst ha tha s a l mos tas i mi l a rmea ni ngt os uc hs ent enc ea s

T hes ev a r i oust er msofdes c r i bi ngore x pl a i ni ngt he Aes t het i cwor di t s el fha sbeenaf or ma l i t yi nt he el d ofa es t het i cl a ngua ge i n Ma l a y s i ai ns uc h wa yi t mer gedt oget herwi t hl oc a l c ul t ur e . Howev er ,t hemea ni ng of /deni t i on oft hewor d ‘ a es t het i c ’i t s el f i s qui t e br oa d wher e t he i nt er pr et a t i on i t s el fc a n be di ﬀer entes pec i a l l yt o t hos ewhoha sbeenl i v i ngwi t hi nt hei rr ur a l a r eaa nd t hos ewhos ubmer gedt hems el v esi nt hec i t yl i f e .

Ba t i ke x pr es si t sa es t het i c bea ut yt hr ough v i s ua l a ppr ec i a t i on. I ti sa c hi ev edt hr oughpa t t er nwhi c hi s c r ea t edf r om‘ r epet i t i onofmot i f ’ a ndpl a y sav i t a l pa r t oft hephy s i c a l s t r uc t ur eoft hewhol eBa t i ki t s el f . T he mot i f sofBa t i ka r ec ommonl yder i v edf r om mi x t ur eof

T hes emot i f sc a nei t herbes epa r a t edwi t hi nt hei rown c a t egor i esormi x t ur edi ﬀer entc a t egor i esr es ul t i ngi n t hea es t het i c a l l ybea ut yoft heBa t i k . T heMa l a y sha sa l wa y sempha s i s eonpl a y i ngwi t h c ol our sa spa r toft hea es t het i cbea ut yofBa t i k , mor e t ha nt he c ombi ned c ol our s whi c hJ a v a nes e ha s a l wa y sbeent r y i ngt oa c c ompl i s h/us ewi t hi nt hei r t r a di t i ona l ba t i k . T hei deaofus i ngl a y er edc ol our si sa ni nt egr a lpa r t a ndc a nbedes c r i bet hr oughoneof t hePengl i pur L a r a S er i Ra maofMa l a y .

ï¬&#x201A;oramoti fs

FlorAmoti fanalysi s

T her ea r ev a r i et ywa y sof F l or a l Mot i f sa r er epr es ent ed wi t hi nBa t i k . Oneof t hemi sa c t ua l l ywher et he or a l i s c ont r a s twi t ht heba c k gr oundi nt er msofc ol ouror s i z eorbot hoft hem. T hi smet hoda c t ua l l yempha s i s et hedes i gnoft he or a li t s el fwher ei ti sc ons i der eda st hema i ndes i gn s ubj ec toft heba t i ki t s el f . Howev er ,t her ea r es ome Ba t i kt ha ta c t ua l l y ha s r epet i t i v e or a lmot i f swher ei tc r ea t esa n or der a r r a ngementwhi c hha st hes ol epur pos eofa ddi ng t hea es t het i cv a l uet owa r dst heBa t i k . F ur t her mor e ,t her ea r eot herBa t i kt ha tha sa or a l mot i ft ha ta c t ua l l ybl endsi nwi t ht heba c k gr ound whi c hc r ea t esaha r monyv a l ue . Henc e , i tc r ea t esaone whol edes i gnwi t hi nt heBa t i k .

ﬂoramoti fanalysi s Ba s edonourv i s i tt ooneoft heKel a nt a nBa t i kS hop. weha da ni nt er es t i ngc onv er s a t i onwi t honeoft he Ar t i s a nwhoha sbeenwor k i ngf ormor et ha n10y ea r s .

I ti sa ni nt er es t i ngquot ebyhi m bec a us et he r s t

Howev er ,s i nc et heAr t i s a n ha sa ne x per i enc ed of

s ent enc e“ r a ndom a nda c c or di ngt omyowndes i gn”

mor et ha n10y ea r s , hea l r ea dyha v ev a s tk nowl edge

depi c t edt heAr t i s a ndoesnott r ul yc r ea t eades i gn

a boutBa t i kt hr ough hi se x per i enc ed wi t hi nt he

t ha tha smea ni ngorpur pos ewher ei ti spur el yba s ed

i ndus t r yhewoul dus edel ement sf r om pr ev i ousa nd

onhi sk nowl edgea nde x per i enc ed.

notent i r el y‘ owndes i gn’ .

“a sl onga si ti sbea ut i f ula ndna t ur a l ”a l s odepi c t ed

Hi squot eof ‘ r a ndoma nda c c or di ngt omyowndes i gn’

t ha tAr t i s a nc onc er nedi sonl ya bouthow goodt he

ma ynotbeent i r el yr a ndom pers a y , i ti sdeni t el y

des i gni swi t houtput t i ngmuc ht houghtoni t .

i nv ol v esac ombi na t i onofel ement sa nddes i gni nhi s pa s t10y ea r s .

geometri calmoti fs

I s l a mi cgeomet r i cdes i gnpr i nc i pl esa r eoneoft he ma j orf ea t ur esf orMa l a y s i a â&#x20AC;&#x2122; sba t i k .

T hes t r uc t ur eofgeomet r i cmot i f sc ombi nev a r i ous s i mpl es ha pess uc ha ss qua r es , r ec t a ngl es , c i r c l es , s emi c i r c l es , t r i a ngl es , di a monds , Pent a gons , he x a gons , Oc t a gons , v a r i ous l ys ha pedc r os s esa nd t hes t a r sofv e , s i x , ei ght , t en, orev enmor epoi nt s

F ur t her mor e , T hepa t t er noff oods ha pesa r ea l s o pl a yai mpor t a ntr ol ei nba t i ks a r ongdes i gni n Ma l a y s i as uc ha sdepi c tr i c e , t heMa l a y s i a ns t a pl e f oods .

geometri calmoti fanalysi s

T heGeomet r i cMot i f wi t hi nBa t i ki nMa l a y s i ai shea v i l y i n uenc ed byI s l a mi cAr twher ei tempha s i s e on r epet i t i v e pa t t er na nd pr opor t i onsbet ween ea c h s ha pea nda r r a ngementoft heBa t i k . Pr opor t i onsa r es t r ongl yl i nk edt ogeomet r y ,whi c h c a n be v i ewed a sa s el f gui di ng met hod of a es t het i c a l l ypr ov endes i gn. Geomet r i cpr opor t i onsa c ta st hepr i ma r yor derof pa t t er nswher et heyc r ea t ea nor der l ya nddi v er s i t y a r r a ngmenta swel la sc r ea t e a di ďŹ&#x20AC;er entl ev elof a es t het i c s . F ur t her mor e , Geomet r i cpa t t er nha sav er ys t r uc t ur a l pa t t er nbuti fi ti se x a mi nedpr oper l yt hes ha pei s a c ua l l yi n uenc edbyt heba s i cs ha peofna t ur es uc h a s ower sa nddr opl etofwa t er .

faunamoti fs

T heus eoff a unamot i f si smor epopul a ri nJ a v a nes e ba t i ks a l ons . T hef a unamot i f sf oundi nba t i ks a r ongs a r egener a l l ys ma l l i ns i z ea nda r eus eda sbot hma i n a nd l l ermot i f s .

Mot i f sBut t ery Kupuk upua ndbut t eri esa r edr a wnorpr i nt edwi t h af or m ofpl a nta sc ompl ement a r y .

Ot herMot i f s Chi c k en, bi r d, deer , i sus ua l l ydr a wnwi t hor ga ni c s t y l ei na bs t r a c tf or m

faunamoti fsanalysi s F a una mot i f sha snev erbeen wi del yus ed wi t hi n

Ba s edonourobs er v a t i ononJ a v aBa t i k ,t heF a una

Ma l a y s i a . I nf a c t , i ti ss el domt os eea na r t i s a nc r ea t esa

mot i fi sa l wa y smi x ed t oget herwi t hF l or a lmot i f s .

Ba t i kwhi c hha sF a unas ha pes .

F a unamot i f sc a nber epet i t i v ea ndl a r gert ha nF l or a l mot i f ss i gni f y i ng i t si mpor t a nc ewi t hi nt heBa t i k .

Howev er , F a unamot i f sc a nbes eenal otes pec i a l l yi n I ndones i a due t o t he i n uenc es f r om Hi ndu my t hol ogy . F ore x a mpl e ,Na gamot i f ss y mbol i z eswa t era ndt he under wor l da ndi nt ha toppos est heGa r udawhi c h r epr es ent st heS un. Henc e ,Ma l a y s i aa r t i s a nsdoesnotpr oduc eF a una mot i f sa st heya r ea da pt edt ot heI s l a mi ct ea c hi ng whr ei ti snota ppr opr i a t et oha v ea nya ni ma l dr a wi ngs ors y mbol sa si ti snotc onv eni entf oraMus l i mt o per f r om t hei rpr a y er s

F a una Mot i f sc a n be da r k orbr i ghti nc ol ouri n c ont r a s twi t ht heba c k gr ounda swel la st heF l or a l mot i f si ni t . Howev er , t her ea r eot herBa t i kwhi c hha s F a unamot i f st ha tha sa l mos ts i mi l a rc ol ourt oF l or a l c r ea t i ngaha r monywhi c hl ook sa l mos tl i k eaone whol e mot i f .Henc e ,c r ea t i ng a hi dden des i gn mes s a geors y mbol . F a unamot i fc a na l s ober epet i t i v ewhi c hnotonl y empha s i s ngi t si mpor t a nc ebuti tc r ea t eas y mbol i c des i gn a s wel la ss howc a s i ng t ha tt he Hi ndu my t hol ogya ndc ul t ur ei spa r toft heBa t i kdes i gn. Henc e ,c ont i nui nga nds pr ea di ngt hea wa r enes sof s uc hi n uenc e .

OVERALLANALYSI S Ba s edons i t ev i s i tr es ea r c h&c a s es t udi es

Pa t t er nofBa t i kc a nbedeneda sor ga ni z ed, pl a nnedorf r ees t y l emot i f c ompos i t i onwher ei tc a nbea c hi ev edt hr oughpl a nneda ndunpl a nned dec or a t i on.Howev ert hedes i gner s / a r t i s a nmus tbes k i l l ed,det er mi ned a ndk nowl edgea bl ei ni t . Mos toft heAr t i s a nsl ea r nedi tf r om t hei rf a mi l y wher ei nt heendt heywi l l i nher i t edt hef a mi l yba t i kbus i nes s . E a c hAr t i s a nha v et hei rowna r t i s t i cv a l ue , c ul t ur ea ndi dent i t yi npa t t er n des i gnwher eea c hpa t t er nsr epr es entamea ni ngt ha tc a mef r om t he c ul t ur et heyl i v esi na ndt hegeogr a phi c a l pl a c e . Howev er , i ti squi t er a r e f ora nAr t i s a nt odos uc ht hi nga st heya r enor ma l l yt r a i nedt opr oduc e mot i f sba s edont hei rl i k i ngorc us t omer sdema nd. T hec ha ngei n Ma l a ys oc i oc ul t ur a lha sa ďŹ&#x20AC;ec t ed t hedev el opmentof dec or a t i onc ha r a c t er i s t i c sonMa l a yf a br i ces pec i a l l yt hr oughi t smot i f . T hemot i f si t s el fa r edi v i dedi nt ot wo,t r a di t i ona la ndc ont empor a r y .Of c our s e , c ont empor a r ypa t t er ni smor edema ndedt hes eda y s .

ME A N I N GO FT E N U N

Wea v i ngi samet hodoft e x t i l epr oduc t i oni nwhi c ht wodi s t i nc ts et sofy a r ns , t hr ea dsors i l ka r e i nt er l a c eda tr i ghta ngl est of or m af a br i corc l ot h. Ot hermet hodsa r ek ni t t i ng, c r oc het i ng, f el t i ng, a ndbr a i di ngorpl a i t i ng. T hel ongi t udi na l t hr ea dsa r e c a l l edt hewa r pa ndt hel a t er a l t hr ea dsa r et hewef tor l l i ng. T hemet hodi nwhi c ht hes et hr ea dsa r e i nt er wov ena ďŹ&#x20AC;ec t st hec ha r a c t er i s t i c soft hec l ot h. Cl ot hi sus ua l l ywov enonal oom, adev i c et ha thol dst hewa r pt hr ea dsi npl a c ewhi l el l i ngt hr ea dsa r e wov ent hr ought hem. Af a br i cba ndwhi c hmeet st hi sdeni t i onofc l ot h( wa r pt hr ea dswi t hawef t t hr ea dwi ndi ngbet ween) c a na l s obema deus i ngot hermet hods , i nc l udi ngt a bl etwea v i ng, ba c ks t r a p l oom, orot hert ec hni queswi t houtl ooms .

h i s t o r yo ft e n u n Wea v i ngi samet hodoft e x t i l epr oduc t i oni nwhi c ht wodi s t i nc ts et sofy a r ns , t hr ea dsors i l ka r e i nt er l a c eda tr i ghta ngl est of or m af a br i corc l ot h. Ot hermet hodsa r ek ni t t i ng, c r oc het i ng, f el t i ng, a ndbr a i di ngorpl a i t i ng. T hel ongi t udi na l t hr ea dsa r e c a l l edt hewa r pa ndt hel a t er a l t hr ea dsa r et hewef tor l l i ng. T hemet hodi nwhi c ht hes et hr ea dsa r e i nt er wov ena ďŹ&#x20AC;ec t st hec ha r a c t er i s t i c soft hec l ot h. Cl ot hi sus ua l l ywov enonal oom, adev i c et ha thol dst hewa r pt hr ea dsi npl a c ewhi l el l i ngt hr ea dsa r e wov ent hr ought hem. Af a br i cba ndwhi c hmeet st hi sdeni t i onofc l ot h( wa r pt hr ea dswi t hawef t t hr ea dwi ndi ngbet ween) c a na l s obema deus i ngot hermet hods , i nc l udi ngt a bl etwea v i ng, ba c ks t r a p l oom, orot hert ec hni queswi t houtl ooms .

s k et c h

P R O C E D U R EO FT E N U N

h i s t o r yo ft e n u n C. 6000BC

E v i denc eofwov ent e x t i l esus edt owr a pt hedea da t Ça t a l höy üki nAna t ol i a .

C. 5000BC

C. 6000BC 14Cent ur y

1427

T enunwa sbr oughtt oPeni ns ul a rMa l a y s i at hr ough i nt er ma r r i a gesbet weenr oy a l f a mi l i es .

T hes ongk etma debyt enuns howt hes oc i a l s t r uc t ur e ofMel a k aKi ngdom.

14T H

1784

E dmundCa r t wr i ghti nv ent edt hepowerl oom a ndi t wa si mpr ov edbyWi l l i a m Hor r oc k si n1813

1784

1973

h i s t o r yo ft e n u n c . 5000BC

298AD

Pr oduc t i onofl i nenc l ot hi nAnc i entE gy pt , a l ongwi t h ot herba s t ber si nc l udi ngr us h, r eed, pa l m, a nd pa py r us .

t he r s thor i z ont a l l oom wa sdev el opedbyRoma n wea v er si nt heea s t er npr ov i nc es , pr oba bl yi nS y r i a . F i t t edwi t hmul t i pl eheddl er ods , t hel oom wa sus edt o wea v eda ma s ks i l k swi t hgeomet r i cpa t t er ns . An a dv a nc edmodel i nwhi c ht hepa t t er ni ngdev i c ewa s s epa r a t ef r om t heba s i cbi ndi ngdev i c ef ort he r s tt i me wa sa v a i l a bl e . 298AD 16t hCent ur y

T hef r a mel oom wa si nt r oduc edf r omWes tE ur ope . T enunc a mef r om t heNor t h, s omewher ei nt he Ca mbodi a S i a mr egi ona nde x pa ndeds out hi nt o Pa t t a ni a nd na l l yt oKel a nt a na ndT er engga nu.

1427

16T H Â 1973

1990

T heMa l a y s i a nHa ndi c r a f tBoa r d( L emba gaKr a f t a nga n) i ses t a bl i s hed. T hi sor ga ni s a t i oni ses t a bl i s hedt opr ot ec t a ndl etmor epeopl ek nowMa l a y s i ac ul t ur a l r el i c s .

T enuni swi del yus edi nt hec l ot hi ngofl oc a l s . T er engga nuha st hehi ghes tc onc ent r a t i onofs ongk et wea v er si nMa l a y s i a . Wi t ht hegr a dua l r ei nt r oduc t i onof s ongk eti nt ot heMa l a yCul t ur e , t her es eemst obea s t r ongerr ea s onf ort hel oc a l st ot a k eupwea v i nga sa pr of es s i on. 1990

p r o c e d u r eo ft e n u n Mel i k a s/S epa r a t i ngt heY a r ns Mel i k a si st he r s ts t a get oma k et enunwhi c hwa s us ua l l yus edi nt hea nc i entt i me . I nt hi ss t a get he wea v er swoul ds epa r a t et her a wy a r nsi nt os ma l l bundl esofa r ound30t hr ea dsa ndt hens oa kt hem ov er ni ghti nas ol ut i onma deoft hea s hesofbur nt c oc onutpa l mf r onds , t hes k i nsofdur i a nf r ui t s , ori na n a l um s ol ut i on.

Menga ni /F i x i ngt heT hr ea dont ot heWr a p

Meny us uk/T hr ea di ng I nt hr ea di ngpr oc es st hewea v er st hewa r py a r nont o t hel oom t hr ought her eedoft heâ&#x20AC;&#x2DC; gi gi j ent er a â&#x20AC;&#x2122; ( dent s ) . T her eedi sl i k eac ombi sma def r om v er y ne . I tc ons i s t of2wea v er ss i t t i ngont he oorf a c i ngea c hot herwi t h t her eedi nt hemi ddl e . Onewea v er swi l l i ns er tahook onwhi c ht het hr ea di st i et hr ought hedent si nt her eed. t hr ea dsa r et hendr a wnt hr ought ot heot hers i deoft he s , a ndt i eda r oundoneoft hea na kk a y u. T o r eedi npa i r pr oduc eas t r i pepa t t er ni nt hewa r pt hr ea ds , t en s t r a ndsofc ol our edy a r nha v et obei ns er t edbet ween ea c hs i ngl edenti nt her eed.

Byus i nga na l a ta ni a nk nowna sawr a pi ngf r a met he t hr ea dsa r ewr a ped. T hewr a pi ngf r a mei sa bout6f eet l ong. T hewa r pi ngpr oc es sa l l owst hewea v ert o det er mi net hea mountofy a r da geneededt owa r pt he l oom a ndt hust owea v eapi ec eoff a br i ct oas pec ic wi dt ha ndl engt h. Mengubung

T hewr a pt hr ea dst ha tha v ebeenwoundt ot her ol l er bea ma r et henc onnec t edt ot hek a r a p, t heheddl eof t hel oom. T heheddl ei sa ni mpor t a ntf ea t ur eofal oom t ha tpr oduc est hes hedopeni ngst hr oughwhi c ht he wef tt hr ea dsa r ei ns er t edi nt hewea v i ngpr oc es s . I n S out hea s tAs i a , t heheddl eus ua l l yc ons i s t sofawi de r odt owhi c hs el ec t eds et sofwa r pt hr ea dsa r ea t t a c hed a r nors t r i ng. T os t a r tma k i ngt hel oops , a byl oopsofy t hi c k ert hr ea di spa s s edt hr oughapl a i ns hedma deby put t i ngt hebel i r aupr i ght , whi c hdi v i dest heodda nd ev enwa r pt hr ea ds .

p r o c e d u r eo ft e n u n Mewa r na/Dy ei ng

Mener a u/S pool i ngt heT hr ea d

T her ea r e2t y pesofdy ei ng; Na t ur a l a ndS y nt et i cdy e . Na t ur a l dy ea r eder i v ef r om or ga ni cma t t er . T hepl a nt s a r ea c t ua l l yboi l eda ndt hel i qui di sl t er edt or emov e t hedi r t . T hey a r nsa r es ok ed r s ti nwa t era ndt hen di ppedunt i l t hedes i r edc ol ouri sa c hi ev ed. L i mewa t er i spour edont hey a r nst or emov eodour . T hent hey a r ns a r edr yi ns ha de .

Af t ert hedy edy a r nsa r edr y , t heya r ewoundont os ma l l s t i c k sa bout5i nc hesl ongc a l l edpel et i ngt of or m s pool s . T hemener upr oc es si sdoneus i ngt wos pool i ng wheel sc a l l edar a ha ta ndada r wi n.

Menggul ung/Wi ndi ng T hey a r nst ha tha v ebeent hr ea deda r ene x twoundt oa r ol l erbea ms ot ha tea c ht hr ea di sev enl yt ens i oneda nd nott wi s t edorc r os s edov era not hert hr ea d.

Meneguh Onc et hewa r pt hr ea dsha v ebeena t t a c hedt ot he heddl e , t hewa r py a r nsa r et i ght enedont hel oom. T he t hr ea dsa r ec hec k edt oma k es ur enonea r ebr ok enor wor ns ot ha tnoi mper f ec t i onsa ppea ri nt he na l wea v e .

Menenun

T hewea v i ngpr oc es sbegi nsa f t ert hes t r i ngheddl esa r e t i edi nbunc hest ot heheddl er ods . At r ea dl eorf oot peda l i sdepr es s edwhi c hr a i s esones etofheddl esa nd opensas hedt hr oughwhi c ht hewef ty a r n, t ha ti s woundont ot hepel et i nga ndi ns er t edi nt oawoodenor pl a s t i c ,i shur l eda c r os sl oom. Dur i ngt hewea v i ng, a ddi t i ona l mot i f si ngol dors i l v ert hr ea dma tbea dded us i ngas ma l l pl a s t i cs hut t l ec a l l edac uba ni na t ec hni quek nowna smenc ol ek .

t y p eo ft e n u n

Ka i nCi nda i Ka i nCi nda i a l s oKnowna sKa i nL i ma r , t hi ss t y l ea r ewel l k nownbyi t shi gh gr a dedS i l kc ov er edea c hi nc hoft hec l ot h. T hi si st hemos tdur a bl ea ndhi gh gr a dedS ongk eti nol dda y si tonl ywea rbyhi ghgr a dedwa r r i or . Asr umor ss a y t hi sc l ot hesc a nea s i l ywi t hs t a nds t a bf r om wea pons .

Ka i nS ongk et -S howi ngpa t t er nsa ndmot i f sofpl a nt s , na t ur a l mot i f sa ndmor e . -Nowa da y s , i ti sv er ypopul a rt owea rf or ma l pa r t i esa ndi sof t enus eda sa br i da l gown.

Ka i nL i ma r Ka i nL i ma ri sa ni nv ent i onf r om S ul t a nMa ns urS y a h, byc ombi ni nggol da nd s i l v ert hr ea da spa t t er ni nt oKa i nCi nda i . Nor ma l l y, ba c k gr oundofk a i nl i ma r a r ei nma r oonr eda ndl i megr een. T hedi ﬀer entofk a i nl i ma ra ndk a i nCi nda i i spa t t er na r ef ol l owedbyt hea wni ngma c hi ne , i tt r a di t i ona l l ywor eby womeni nt her oy a l pa l a c e .

Ka i nT enunPa ha ng -Apopul a rs i l ky a r nwov eni nt hes t a t eofPa ha ng. -Al s ok nowna st he' T enunPa ha ngDi r a j a ’ . -Pa t t er nofs qua r es , r owsa ndus eofs pa c ei sof t enempha s i z ed.

MUSI C I NSTRUMENT ByGr oup3

rebanaubi Reba naUbi ' a r ema i n mus i ci ns t r umenti nE a s t Coa s tMa l a y s i a ns uc ha s Kel a nt a na nd T er engga nu.

Ma l a y s i a nr eba b ma i nl yi nKel a nt a n& T er engga nus t a t eof Ma l a y s i a .

rebaB

GONG

Us eda sba c k gr ound mus i cwhenpl a y i ng ‘ Di k i rBa r a t ’ .

CANANG

T hec a na ngi ss t r uc k wi t hama l l etf or per f or ma nc e .

S er una i nor ma l l y us edt opl a y edf or Wa y a ngKul i tKel a nt a n.

SERUNAI

GENDANG

Genda nga l wa y sf ol l ow t hebea tofc a na ngt o c r ea t et wol a y erof s ound.

Kes i a r epl a y ed a l ongt hegr oup oft r a di t i ona l mus i ci ns t r ument .

KESI

H i s t o r yo fE v o l u t i o ni nT r a d i t i o n a lMu s i cI n s t r u me n t

MEMBRANOPHONE Amembr anophonei sanymus i c ali ns t r umentwhi c h pr oduc ess oundpr i mar i l ybywayofavi br at i ng s t r et c hedmembr ane.

Ma l a yt a mbouri net ha ti sus e di nI s l a mi c de v o t i ona lmus i ci nS out he a s tA s i a .

P E R F O R MA N C E S

r ki Zi

n a nt a nKel oundi F r i k i ez z i l a oc oupofmenv Agr esup8 esus nc ma or f heper T . na eba o10r t

d Nasyhi

ny ompa c c oa nat eba edr Us ng ngi i hes t empo het t ol r ont oc T -

r Barat ki Di

na eba ndr bua nai eba edr Us k na a nd ka a t ound‘ hes et k Ma dung’ ’

REBANAI BU Di amet erwasatl eas t60c m 10c ms mal l ert hanr ebana ubi . Us ual l ypl ayedwi t hmal l et s wi t ht heper f or mers eat ed Rebanapl ac edont he gr ound.

R E B A N A

REBANAANAK Kompa ng. T hedi a met era tl ea s t30c m. Us edt os i gna l t hea r r i v a l .

REBANAUBI Lar ges tr ebana. Di amet eri satl eas t70c m onemet erhi gh. Ther ebanaubiar enow us edpr i mar i l yasc er emoni al i ns t r ument s .

TRANSFORMATI ON

Rebanawasi nt r oduc ed200year sago.I thasbeent r ans f or m f r om s i mpl eor namentt odec or at i ves ur f ac eandi t sbody .Sl owl y , t her ebanabei ngr epl ac ebymanyot heri ns t r uments uc hasbas s dr um,andt ambour i newi t hcymbal . Butnow,t her eâ&#x20AC;&#x2122; sr es ear c her sar emoder ni s i ngt he' RebanaUbi ' ,a t r adi t i onalMal ays i anmus i c ali ns t r umentbyi nf us i ngi twi t ha moder nc omput erai dedt ec hnol ogy . ooki ngatt hei mpor t anc eofpr es er vi ngourl oc alc ul t ur eor Byl her i t age,andi nnovat i vec omput ers peakeri sdes i gnedf r om i ns pi r at i onal' RebanaUbi ' f or m,pur pos easac or por at egi f tt hat al s of oc usont heaes t het i candf unct i onal i t yoft hepr oduct .

ma k i n gp r o c e s so fr e b a n a

06 Anot herr a t t a nr i ngi s s i t ua t ednea rt heba s eoft he s hel l a ndhel di npl a c ebya gr oov ec a r v edi nt ot hes hel l i t s el f . Â As t ur dyma mma l hi del a c ei st hent hr ea ded a r oundt het wohoops .

01 Dr i edt hemembr a ne

02 Choos et heper f ec t membr a nef ort he r eba na

T hena t t a c ht he membr a net oget her wi t ht her a t t a nr i ng.

03 04 T hemembr a nei sr s ts t r et c hed ov era nda t t a c hedt oa ha r dwoods hel l .

Us eac oni c a l s ha pes ha l l ows hel l ma de f r om aha r dwood. T hes k i nc ov er ed openi ngi sofanot i c ea bl ywi der di a met ert ha nt hebot t om, unc ov er ed openi ng.

GENDANGI BU

GENDANGANAK

Genda ngi bui s a ppr ox i ma t el ya bout54c m l ong. Genda ngi bua r ema de ofc owhi de .

Genda nga na ki s46c m s hor t ert ha ngenda ngi bu. Genda nga na ka r ema deof goa ts k i n

FUNCTI ON Gendangi buasadet er mi nantof t het empoi nmus i ct oac c ompany danc eors i l atandi sal s ous edas t hemai nmus i c ali ns t r umenti nt he pr oc es sofr ec or di ngas ongi n addi t i ont ot he ut e

GENDANG

amus i c ali ns t r umentmadef r om t he s ki nofani mal s .I ti soneoft hemus i c al i ns t r ument si nt hedr um f ami l y .

FUNCTI ON Gendanganakar et oac c ompany per f or manc esandus edt o wel c omi ngevent s .Nor mal l yus ed wi t hs er unai ,s er ul i ngorc anang.

PERFORMANCES

-Makyongper f or manc esar epl ayedbyt wodr ummer swi t hi nt er l oc ki ngs t yl et o pr oduc es pec icr hyt hmi cpat t er nsi nvar i ouspi ec es . -Nobati sac l as s i c alpal ac emus i cac c ompanybyr oyalt r adi t i on.Gendangwasus edasoneoft hemai ni ns t r ument .

TRANSFORMATI ON

Thr oughoutt heyear ,gendangi st r ans f or mi ngf r om t r adi t i onal l ookt i l lc ur r entl ookwhi c hi sver ymoder n.Cur r ent l y ,gendangwas bui l tbywoodandmet al .Butani mals ki ns t i l lmai t ai nf orbet t er membr ane.Fur t her mor e,gendangal s oc anbedec or at eby dr awi ngorc ol oroni t sbody .Car vi ngar enotr ec ommendedi nc as e i twi l lc hanget hes ound.

ma k i n gp r o c e s so fG E N D A N G Eac hoft het wodi ďŹ&#x20AC;er ent l ys i z ed headsar emadef r om t anned buďŹ&#x20AC;al ohi des t r et c hedt i ght l y overr at t anhoopf r ames .

Thes mal l erheadt hel ac ei st hr eaded t hr oughapai rofs mal lr awhi der i ngs t hatc anbes l i dupanddown.

Ar opehandl ei sat t ac hedt o t hes hel l ,andt hedr um r es t s atabouta30degr eeangl e onawoodens t and.

Thec oni c al s haped body/ s hel loft hi s dr um i smadeby wood.

Thel engt hoft hedr um t obet hr eadedar ound t hehoopf r ameoft he ot herhead.

GEDUK

amus i c ali ns t r umenti na t wof ac eddr um f ami l y

-Thi st ypeofmus i ci sbas edonei t hert he5t oneor7t ones c al es .I ti sper f or med mai nl ybyar angeofens embl esi nc l udi ngwi ndi ns t r ument s ,br onz eper c us s i ve i ns t r ument ss uc hasgongsandawi der angeofdr ums . -Gedukneedt obepl aywi t h2s t i c kst okeepi tup. FUNCTI ON -Us ual l ypl ayal ongwi t hs ever alt r adi t i oni ns t r umentt oget her . PERFORMANCES eus edf orwayangkul i tper f or manc es -Gedukar

TRANSFORMATI ON

Thr oughoutt heyear ,gedukar et r ans f or mf r om woodenbodyt omet al body . Thi st r ans f or mat i ondoes nâ&#x20AC;&#x2122; tc hanget hes ound.Butt hi s t r ans f or mat i ondi dntpr es er vet het r adi t i onall ookofgeduk.

COMPARI SONBETWEEN REBANA& GENDANG

VS -Fl atc i r c ul ars hapewi t hhar dwood bel ow t ohol dt hes ki nmembr ane

-madef r om ahar dwoodandi sc oni c al -As i ngl eheadf r amemembr anophone -wi derdi amet ert hant hebot t om, unc over edopeni ng -Us edbyt heMal aypeopl ewhen c el ebr at i ngt hebr i deandgr oom i na weddi ngc er emony . -Us edt oac c ompanyr onggèng, danc i ng

REBANA

SHAPE CHARACTERI STI CS FUNCTI ON

GENDANG -Coni c als hapewoodwi t ht wo heads i deofani mals ki nmembr ane

-madef r om ahar dwoodandi sc oni c al -of t enc al l edast woheadeddr ums . -di ﬀer entdi amet eri nt hebot hhead -Us edasadet er mi nantoft he t empoi nmus i c -t oac c ompanyt heweddi ng pr oc es s i on,ac er emonyt owel c ome gues t s -Mai ni ns t r umenti nl agudangdut

AEROPHONE Anaer ophonei samus i c ali ns t r umentt hatpr oduc es s oundpr i mar i l ybyc aus i ngabodyofai rt ovi br at e, wi t houtt heus eofs t r i ngsormembr anes ,and wi t houtt hevi br at i onoft hei ns t r umenti t s el faddi ng c ons i der abl yt ot hes ound.

serunai

amus i c ali ns t r umenti na t wof ac eddr um f ami l y -Ser unaii st henameofat r adi t i onalmus i c ali ns t r umentamongt heMi nangkabau peopl ei nWes tSumat r a,I ndones i a.Auni quepar toft hej oys t i c ki si t s at t ened ends ,whi c hwor kt oi nc r eas et hevol umeoft hes ound. FUNCTI ON -Us ual l ypl ayedi nt r adi t i onalevent s ,s uc hast her i t ualbat agakpanghul u.I n addi t i on,pent at oni cpi t c hedi ns t r umenti sal s oof t enpl ayedi nmys par et i mewhen peopl egot ot her i c e el d PERFORMANCES -F amousf orac c ompanyi ngaper f or manc eofmar t i alar t sMi nang -WayangKul i tal s oi nc l udes er unaiasas ubi ns t r ument

TRANSFORMATI ON

ma k i n gp r o c e s so fs e r u n a i

-Longcyl i nders haped -Madebyabl oc kofwood.

-Car vedt hedet ai l edout t oc r eat edi ďŹ&#x20AC;er entt ext ur e

-Af t erheatt hemet al , hammer i ngt hes t eel .

05 -Pi er c i ngt hehol eout us i ngmac hi ne -Us eds andpapert o s moot ht hes ur f ac e

-Pai ntandt r youtt he s oundofs er unai .

seruli ng

amus i c ali ns t r ument f r om af ami l yofwoodon bl owi ngi ns t r ument s . -Ser ul i ngi st heol des tofat r adi t i onalmus i c ali ns t r ument .As er unaipr oduc esas ound whenai r owst hr oughahol e. Thi sai row c aus esanai rvi br at i ont hats t ar t satt hehol e. Ser ul i ngmadeofbamboohave67pi t c hedhol esatt hes t em ands weet enerhol es ( s weets ong)att heedges . FUNCTI ON -Ass uppor t i ngi ns t r ument ,devel opedi nt oapr i mar yi ns t r umentt hati st hemai n i ns t r ument . PERFORMANCES -Ser ul i ngnor mal l ypl ayedi ndi ki rbar atwi t hot heri ns t r ument

TRANSFORMATI ON Thr oughoutt heyear ,s er ul i ngar et r ans f or mf r om woodenbodyt o met albodyandpvcbody . Thi st r ans f or mat i ondoes nâ&#x20AC;&#x2122; tc hanget he s ound.Butt hi st r ans f or mat i ondi dntpr es er vet het r adi t i onall ookof s er unai .Andt hemet all ooki nc r eas et her oyalt r adi t i onvi s ual .Fort he PVCs er ul i ngnow c al l edr ec or der .

COMPARI SONBETWEEN SERUNAI& SERULI NG SERUNAI -Cones hapewi t hhead,c onnect or andf unnel

-Cons i s t sofs evenhol esont heupper par tandonehol eatt hebot t om. -30c ml ongormor et hant hat -Madebywoodandmet al

-Of t enpl ayedi nc us t omar yevent s -Commonl ypl ayedi ndependent l y -Forac c ompanyi ngaper f or manc e ofmar t i alar t sMi nang

VS SHAPE CHARACTERI STI CS

FUNCTI ON

-cyl i nders hapewi t hhol eont o i t sbody

-Cons i s t soff ourt os i xhol ewi t ht hr ee di ï¬&#x20AC;er ents c al es . -20c ml ongormor et hant hat -Madebywoodandbamboo

Us ual l yt oac c ompanyhar moni ousmus i c al i ns t r ument s ,i tai mst omaket hemus i c pr oduc edmor ebeaut i f ulandqual i t y -Sol oper f or manc eoror c hes t r a

SERULI NG

I DI OPHONE Ani di ophonei sanymus i c ali ns t r umentt hatc r eat es s oundpr i mar i l ybyt hei ns t r umentasawhol e vi br at i ngwi t houtt heus eofs t r i ngsormembr anes .

GONG

amus i c alper c us s i oni ns t r umentt hat t akest hef or m ofa at ,c i r c ul armet al di s cwhi c hi shi twi t hamal l et .

GONGI BU

GONGANAK

bi ggert hanac hi l d' sgong, madeofc opper . Thegongi bui s l owert hant hegonganak.

s mal l ert hangongi bu.Bot hof t hem ar ehangst of ac eseac h ot her s .

-FUNCTI ONus edi ns oc i alt er msast hedel i ver y ofengagement s ,mar r i ageand c er emoni esr el at i ngt ot hebi r t h andbur i al( pos s es s i onoft hegong s i gniesahi ghpos i t i oni ns oc i et y)

-FUNCTI ONSer vedast hemai nt i me mar keri nt heGamel anmus i c danc i ngs ys t em

PERFORMANCES

-Us edf ormuz i kj ogetGamel anwhi c hr eactasabeatt hatc ont r olt i mi ng. -Di ki rbar ats er vedasahar moni z i ngs oundf ort hei ns t r ument . -Pi cgongt hatdet er mi nest hef or mi nMakYong' smus i c

TRANSFORMATI ON

Thr oughoutt heyear ,gongi sbei ngpr es er vebymal ays i a. The c har act er i s t i c sofgongdi dnotc hangeandal s opr ovi deal oc al pl ac et opr es entt hec ul t ur eandc r af toggong. Thedes i gnofgongi smai nt ai nbutt hedec or at i vei sc ont i nui ng addon. Ther eas onwhygongdi dnotbei ngr epl ac ebymoder n mus i c ali ns t r umenti sbec aus et hes oundofgongar enotbei ng abl et oc opy .

CANANG

i samus i c ali ns t r umenti n t hes mal lgongf ami l y. -Thi st ypeofmus i cus e1t o2c anangt ogetamor ehar moni ouss ound. Whent heCanang i sc ompr i s edoft wogongs ,eac hgonghasadi ďŹ&#x20AC;er entt onewhi c hpl ayt oget heri na par ent / c hi l dr el at i ons hi p. -Pl ayedt hem al t er nat el y ,t oc r eat eas t eady ,evenr hyt hm FUNCTI ON -Canangi sus edt oes c or tbeat soft hes ong. PERFORMANCES ns pi r edf r om t hemus i candi ns t r ument sofWayangKul i t . -TheCanangwasi

TRANSFORMATI ON Thr oughoutt heyear ,c anangi st r ans f or mt os i mpl ef or m andc l ean des i gn. Themat er i alus edmai nt ai nt hes amebutt het ext ur ear e s moot hen.ashow t het i edupt hec anangal s or emai nt hes ame. The c ananghasbeenus ei nmanyt ypeofmoder nmus i c ali ns t r umentasa s ubpl ayer .

COMPARI SONBETWEEN BONANG& CANANG

VS -Bonanghas12t o16c anangsmade f r om per c h. Thes ec anangc angsar e gol denandar eneat l yar r angedi nt wo r owsandar e oat edovert wodef aul t s . -Mi x edt hes hapeoft hehangi ng gongsandt hehi gher pi t c hed c r adl edgongs . -As ur f ac ewi t hs l opesupt ot he pr ot r udi ngknob.

-us ual l ypl ayedi ns moot hmus i c . -pr oduc esagongl i kes oundbut hasas of t erandmor evar i ed s ound

BONANG

CANANG

SHAPE

-Cananghasonl yt wo c anangswhi c hi sal s o oat ed andt i ed.

CHARACTERI STI CS

-Us edasmanyasf ours eedsal i gned f ol l owi ngadi at oni cs ys t em t hathas t her i ghts oundpi c . -Madebyi r onandbr onz e

FUNCTI ON

Us ual l yt oac c ompanygendanganak -Canangar eus ei nwayangkul i t per f or manc e

CHORDOPHONE Ac hor dophonei samus i c ali ns t r umentt hatmakes s oundbywayofavi br at i ngs t r i ngors t r i ngs s t r et c hedbet weent wopoi nt s .

rebab

at ypeofaboweds t r i ng i ns t r ument -At wos t r i ngbowedl ut ec ons i s t i ngofawoodenbody ,t r adi t i onal l yt houghnow r ar el yaj ac kf r ui tt i mber ,c over edwi t hver y nes t r et c heds ki n. Twobr as ss t r i ngsar e t uneda f t hapar tandt hec oc onut berbow i st i edl oos el ywi t ht hepr opert ens i on c ont r ol l edbyt hepl ayer sbow hand,c ont r i but i ngt ot hedi ďŹ&#x192;c ul tt ec hni que. FUNCTI ON -Us edi naheal i ngr i t ualc al l ed" Mai nPut er i " ebabdoesnothavet oc onf or m exact l yt ot hes c al eoft heot hergamel an -Ther i ns t r ument sandc anbepl ayedi nr el at i vel yf r eet i me PERFORMANCES -Rebabar eus edf orMakyongper f or manc es

TRANSFORMATI ON

Thr oughoutt heyear ,r ebabar et r ans f or mf r om woodenbodyt omet al body . Thi sal s oi nc l udedt hedec or at i onaddal ongt heyear .Cur r ent l y r ebabbec omehi ghvi s ualandf ancy .

ma k i n gp r o c e s so fr e b a B He a d

Bo ws&bo wss t ri ng

Woodwi l lbec utt ot hedes i r ed l engt hac c or di ngdes i gn. s moot hent hes ur f ac eoft hewood

t hebow i smadeoutofs of twood andi ti ss l i ght l yc ur ved. Bow s t r i ngswi l lbeat t ac hedt ot he bow.

S t e mre b a b

S he l l

Combi net heout l ookoft he s hel lwi t hdec or at i vec ar vi ng

Met als l eevemadeoutof al umi ni um/ c opperwi l lbe i ns t al l edatt het opoft he s t em

S t e mﬂut e

T uni ng

t uni ngpegst hatmount edont hes t em ut est os t r et c ht hes t r i ngs .

t hes t emswi l lbes hapedi nt o‘ but t on’ s hape -4c m ni ppl et oc onnectt hes t em r ebab.

t hanky ou

TIMBER CRAFT By Group 1

TERENGGANU HOUSE - Motifs of timber craft

MOTIFS OF TIMBER CRAFTS Malay Woodcarving

According to Shaffee & Said (2013), has claims that the carving motifs and pattern for palace were usually taboo or prohibited in aristocrats otherwise typical people buildings. The carved panel has designed for kings encompassed the greatest design qualities which to symbolise values and status. Carvings owned by ordinary peoples, which were usually, less intricate, rather simple and merely carved just for decorations.

Pattern of Traditional Woodcarving

The patterns of wood-carving are incorporating with other factors related to customs, religion, beliefs, norms and values, beauty, harmony, and other relevant elements. Malay woodcarving has three basic patterns namely, the ‘single pattern’, the ‘frame pattern’ and the ‘complete pattern’.

Its motif is executed in a freestyle, stands on its own and flows discontinuously.

Screen pattern / frame pattern

The motifs used in this kind of pattern are more aesthetic in nature and carry certain meanings.

Complete pattern / main pattern pattern It combines all the elements to form a complete configuration, which often inspired by nature meanings.

TERENGGANU HOUSE - Motifs of timber craft

The Significances Type of Motif Selection The motif plays an important role to the carving composition panel comprising a strong attitude of the hermeneutic code of Malay civilisation such as following:

Motif derive from flower bud is significance to: - An immature stage & inexperience of a young woman. - Experience and established individual. - Symbolise of cleanliness and purity.

Motif derive from blooming flower is significance to: - The maturity and experienced of a young woman. - React as symbolism of strong and endurable. - The hiding of a young woman possessing a protection from her parent. - Signify of cleanliness and purity.

Motif derive from the leaf is significance to: - To signify of protection.

Motif derive from the fruit is significance to: - To mature humankind that can independent and capable to develop more and more generation.

Motif derive from the tendril/sprout is significance to: - Symbol of the humility of the universe to the God. It always exhibits a softness downward curving and intertwining of tendril as well as a marked for immature stage of young one to develop more and more generation.

Motif derive from the plant/tree is significance to: - It is symbolised of â&#x20AC;&#x153;sourceâ&#x20AC;? representing the God is a mysterious entity. - Significance for prosperity and fertility.

Motif derive from source of universe is significance to: -The motif depicts from universe deliberate to the cosmology source of sun, moon and star are significance on believing of God, the creator of the universe.

TERENGGANU HOUSE - Motifs of timber craft

DECORATION & MOTIF TIMBER CRAFT The artisan start his craft by inking its own ready made art template on the wooden block, he then starts to drill into the wooden block with a driller machine then carves out the abstract pattern on the wooden block and then he sands it to refine it into a masterpiece.

TERENGGANU HOUSE - Motifs of timber craft

TERENGGANU HOUSE - Timber craft methods

Traditional Method -1 Design is traced and transfered to the object such as panel.

-3 Carving the wood panel by using a hyriad of carving tools to pare, chisel, shave, drill, and dig to bring the design to life.

-2 The unwanted parts are cut out and then discared.

-4 Polised using emery paper now whereas the dried skin of the stringray or the leaf of a wild plant called â&#x20AC;&#x153;mempelasâ&#x20AC;?

TERENGGANU HOUSE - Timber craft methods

Modern Method -1 Design is traced

-3 Remove unwanted area using pecision wire saw or a drill press.

-2 Drill hole to insert wire saw

-4 Polished using emery paper now.

TERENGGANU HOUSE - Timber species Timber Type/ Species

Cengal Wood

Merbau Wood

Sandalwood (Cendana )

Agarwood (Gaharu)

Timber Type/ Species

Distribution

South East Asia

From East Africa to Southeast Asia and Australia

Native to China, India, Indonesia, Australia, and the Philippines.

Native to southeast Asia

Classification

Heavy Hardwood

Hardwood

Colour/ Appearance

Grain/ Texture

Light yellow-brown with a distinct green tinge, when exposed to sunlight, it will darken to dark purple-brown/ red.

Fine texture and even spread , grains are interlocked with shallowly to deeply.

Has an orangish-brown colour when freshly cut, which ages to a darker colour between boards can be highly variable. There are also small yellow mineral deposits found throughout the wood, making it easier to separate from other lookalikes.

Grain is straight to interlocked texture is coakie with a moderate natural luster.

This small tropical tree grows to 20m high with red wood and a variety of dark colors of bark (dark brown, reddish and dark grey)

Prior to infection, the heartwood is odorless, relatively light and pale coloured ; however, as the infection progresses, the tree produces a dark aromatic resin, called aloes which results in a very dense, dark, resin-embedded heartwood.

Description

End Grain

Naturally durable and very resistant too termite attack and fungal infestation.

Odor Smells great.

This wood has excellent strength characteristics, along with excellent stability, making it ideally suite for use as wood flooring and other applications where strength is important.

Diffuse-porous; large to very large pores, very few; solitary and radial multiples; mineral deposits occasionally present, including conspicuous yellow deposits; narrow rays; normal spacing.

Has a unique smell when being sawed or sanded, which can also causes irritation and sneezing

Sandalwood trees have been cultivated since antiquity for their yellowish heartwood, which plays a major role in many Oriental funeral ceremonies and religious rites.

Diffuse-porous; solitary and radial multiples; large to very large pores in no specific arrangement, very few; orangish brown deposits occasionally present; parenchyma winged, confluent, and banded; narrow rays, spacing fairly close to close.

Sandalwoods retain their fragrance for decades. As well as using the harvested and cut wood, essential oils are also extracted from the woods for use.

Agarwood beads are made from wounded Aquilaria tree, which contains white fibre and infected wood.

Diffuse-porous; large to very large pores in no specific arrangement; solitary and radial multiples of 2-3; heartwood deposits present.

The odor of agarwood is complex and pleasing, with few or no similar natural analogues.

Pricing Availability

Sustainability

Most expensive. Chengal wood is considered as protected series due to uncontrolled illegal logging in Malaysia.

Uses Decking, Columns/ Beams, Frames for truck, Heavy duty flooring, Heavy duty furniture, Door and window frames, Heavy construction, Boat Building.

Additional

Age

It is true that mature Chengal wood has a very long lifespan under outdoor conditions, young Chengal wood do not offer the same benefit. The most obvious reason is that young.

“Buildings made of chengal have lasted for about 100 years, hence it can be concluded that the chemical protection in the heartwood of the best-protected trees in the humid tropics is about 100 years. A chengal tree could develop a solid trunk for about 100 years, after which it could develop a hole for another 200 years before it becomes unstable, making a total life-span of 300 years. “

Young merbau trees have smooth grey brown bark. When the tree gets older the bark gets darker, slightly fissured and scaly. The bark of both young and old trees is used in various traditional medicines.

Many merbau trees are old growth, with sparse populations even in their native regions. They are slow to mature as well – many of them can take up to 75 years or more to reach full maturity.

Offered sporadically, lumber is usually sold in ample widths and lengths when available. Prices should be moderate for an imported hardwood.

This wood species is not listed in the CITES Appendices, but is on the IUCN red list. It is listed as vulnerable due to a population reduction of over 20% in this past three generations, caused by a decline in this natural range, and exploitation.

Flooring, Furniture, Musical instruments, Turned objects, (other specialty wood item).

Sandalwood is highly valued in India and uncontrolled harvesting have cause populations to dwindle in recent years, India has imposed an export ban on Sandalwood and instated conservation measures to protect the species in the country. First-grade agarwood is one of the most expensive natural raw materials in the world, The current global market for agarwood is estimated to be in the range of US$6 – 8 billion and is growing rapidly.

This wood species is in CITES Appendix II, and is on the IUCN Red List. It is listed as endangered due to a population reduction of over 50% in the past three generations, caused by a decline in its natural range, and exploitation.

The heartwood and roots also contain ‘sandal oil’ which is valued for use in perfumes, incense, cosmetics, soaps, and medicines. The bark contains tannin, which is used for dye.

Sandalwood produced from relatively young trees is expected to be worth less than sandalwood harvested from natural or very old stands.

15-20 years, best quality of wood. A recent study states that it’s better to wait for harvest until the trees are 25 years old. Trees aged 8-11 years contained only low-grade wood, those aged 14 years contained only 12 % high-grade wood (butt wood only), while those aged 26 years contained 67 % high-grade wood in the butt, root,s and large stems.

Agarwood is protected worldwide under the (CITES) convention. A. crassna is listed as an endangered species by the Vietnamese Government.

A fragrant dark resinous wood used in incense, perfume, and small carvings.

To ensure agarwood’s availability in the future, it will be necessary to raise public awareness of the threat of extinction of this natural resource.

Wild agarwood depending on the condition, but cultivated agarwood take around 8 years to grow the tree and 2 years of infection before being harvested.

TERENGGANU HOUSE - Conclusion

WHY IS THE WOODEN CRAFT IN TERENGGANU AREA DYING? “With the years clearly showing on his weather beaten face, Aki explains that it’s useless to accept an army of apprentice if the skills haven’t been ingrained in them over the generations. His memory is obviously very good as, in a split second, he starts recalling incidences on the island where other less experienced boat builders enthusiastically embarked on projects with more than 10 apprentices who were selected randomly, regardless of their background.” “Faced with the perfect storm of soaring cengal prices and stiff competition from cheaper fiberglass boats, the few remaining Pulau Duyong boat builders dare not place too much hope for this industry which is already in its sunset years.”

- In the hands of an ageing population. - Tough trade to learn - Long working hours - Long time to gain experience - Very little pay - Digital age (Global mass market production) - Informal training - taught from older to younger generation - Lack of vocational training

FORMATION OF PATTERN

The motifs are usually creepers to have a better ﬂow and look repetitive.

Pokok Kenerak

There are no animals and insects motifs allowed to be used in the Wau as in religion wise, which is Islam, animals and insects are forbidden to be represented as they belief that nothing should represent a life.

Pokok Seri Pagi (Morning Glory)

Wau’s Motifs Are All Floral Elements. A typical components of a Wau with motif.

Pokok Peria

Pokok Kangkung

Pokok Getam Guri

Pokok Tembikai (Water Melon) Wau Merak

The motifs shown are the most common types of ﬂoral elements in various kinds of

(Peacock Wau)

The motifs on the Wau Merak (Peacock Wau) are typically the pokok gambir & lada hitam, which sourced from the crops that raises the economy of the people.

WAU BULAN ( MOON KITE ) WAU BULAN, THE CYCLE OF THE MOON 01 .

WAU BULAN

NEW GIBBOUS ( BULAN HAMPIR PURNAMA)

02 CRESCENT MOON ( BULAN SABIT )

03. 02.

03 FULL MOON ( BULAN PURNAMA )

As the word bulan is translated as moon in Bahasa Melayu, the wau bulan was named as such since the shapes that forms the entirety of the wau consists of the entire cycle of the moon as seen from earth. From the crescent moon to the full moon, each shapes seen are incorporated thus forming the head, neck and tail. The three quarter moon makes for the shape of the head with the crescent moon making up the tail and the full moon at the neck. As such the cycle of the moon is portrayed in a cycle from head to the tail uniting each shape as one wau.

PROCESS OF MAKING WAU 1. Selecting bamboo

2. The best bamboo to

make a wool frame is a bamboo thorn and dried.

8. After installing the rope reins, the kite is fully complete.

7. Design a traditional wau pattern. The ďŹ nished pattern on the color paper is then attached to the body.

3. The bamboo is rubbed but the bamboo skin is not removed.

6. A piece of colour paper is paste on the frame.

4. Bamboo blades were

mounted on ďŹ re before bending.

5. The bamboo made into a frame as a backbone.Bamboo blades need to be balanced. Nylon is used to tie the frame.

MODERN PROCESS OF WAU 1. Testing and checking the durability and length of carbon rods

7. The wau is completed and ready to ďŹ&#x201A;y

2. Selecting the most suitable rods for the speciďŹ c wau

3. Creating a frame to support the wau, with a central bone and the left and right side must be balanced

6. The last is to make the kite string helm, There are 2 types of rope reins called 'teraju' which are 'teraju dua' and 'teraju tiga'

4. Printing the designed pattern on the ripstop nylon fabrics

5. The fabric is then to attach on the to the frame

SOUND OF WAU BUSUR Busur is a part of the Wau that produces the sound â&#x20AC;&#x153;â&#x20AC;&#x2DC;wauâ&#x20AC;? when it glides through air. Its is also where the kite receives its name from, Wau. Busur is also used as an indication that the Wau is still connected the rope. If the sound starts to diffuse or disappear, it means either the rope has snapped or the wau is losing its speed or altitude. Busur are made up from natural materials such as bamboos and daun ibus. Busur is located at the head(kepala) of the Wau.

2 1

Compromising of four component:1. `Bok`. Which is made out of bamboo. 2. `Daun ibus` is the part that produces the `wau` sound. 3. ` Inas` typically made from chinese bamboo is the central part of the busur.

Busur located at the head of Wau

4. ` Buluh penyepit` used to attach the busur to the Wau is made from bamboo.

EVOLUTION OF THE WAU The elements of the wau that are changed over time. Colouring and Decoration Materials It is a natural thing to discover new materials and learning how to use them. Wau makers too have to ďŹ nd ways to improve the appearance and durability of their wau.

Normal Coloured Paper

Glossy Plastic Sheets

Normal coloured papers were used initially, sometimes even coloured cloth if there are colour limitations.

Wau makers started to realise about the existence of these glossy material and quickly incorporated it into the wau design, enhancing the appearance of the wau especially in ďŹ&#x201A;ight.

Textured Paper and Plastics Then came textured papers, which offers a much better build quality and felt unlike the glossy plastic sheets when held in hand, they also come with glitter particles which looks amazing when high up in the skies.

IMPLEMENTATIONS OF THE WAU ICON Events that honoured the Wau Bulan as one of the National symbol of Malaysia MAS Logo Design 1972 The Malaysian Airways Company (MAS) logo was heavily inspired by the wau design

‘Coining’ the Symbol 1989 The Wau was featured on the back of the 50 cent coin

Rm1 Note Design The wau icon was ﬁrst used in the back graphics of the (3rd Series) RM1 notes in 1996 till present day

1972 - 1987

3rd Series Rm1 note from 1996-2012

1987 - 2012

4 Front face 2012 - 2013

2013 - Present

Back face

4th Series Rm1 note from 2012-present day

OTHER IMPLEMENTATIONS OF THE WAU More objects and designs that incorporated the wau icon

Wau shaped Wau shaped Pin Dreamcatcher

Wau inspired Event logo

Wau shaped Magnet

Wau shaped Wall Deco

Note book cover design Wau shaped buttons

WHEN AND WHERE IS THE WAU PLAYED WAU OLD TIMES During the 90`s wau are generally played during the reap/ harvest season ( musim menuai) . During that time crops are harvested only once a year, thus during their free time, Wau are played by the communities. This can also be made possible because of the big barren and dry land that is suitable to ﬂy the `Wau`

CURRENT TIMES Nowadays, most of the Waus are played around wide and long beaches or any open land, in collaboration with festivals that are being held.

KELANTAN INTERNATIONAL KITE FESTIVAL The annual Kelantan International Kites Festival, held since 1982. participants from Brunei, Cambodia, China, Indonesia, India, New Zealand, Singapore and Thailand took part to showcase their kite-making craft and kite-ﬂying skills. Many local students are also involved in these festivals. It is held in Pantai Geting, Kelantan.

INTERNATIONAL KITE FESTIVAL AT PANTAI GETING, KELANTAN

REFERENCE 1.

https://docplayer.net/50805553-Malaysia-shining-wau.html

http://adelinhamdan.blogspot.com/2011/03/legend-of-wau-bulan.html

http://the-art-of-wau-bulan.blogspot.com/2009/09/facts-and-history-of-art-wau-bulan-art.html

https://www.malaysia-traveller.com/muzium-wau-kelantan.html

https://www.nst.com.my/news/2016/11/186324/wau-factor

https://www.lokalocal.com/blog/local-story/kelantan-malay-heritage/

http://waukite.blogspot.com/2011/04/types-of-wau-wau-bulan-moon-kite.html

http://azhanafiq.blogspot.com/2010/12/how-to-make-wau-bulan.html

https://www.behance.net/gallery/7589335/The-book-of-Wau

10.

https://thread.zalora.com.my/home/2019/4/wayang-kulit-puppet-patterns-you-never-knew-existed

11.

http://www.dancingfrog.net/malaysia2001/wau.html

12.

https://waumalaysia.wordpress.com/types/

13.

http://waukite.blogspot.com/2007/10/getting-to-know.html

14.

http://amalasyikindec5b.blogspot.com/2014/08/wau-bulan-giant-kite.html

HISTORY OF WAYANG KULIT DEFINITION OF “ WAYANG KULIT “ The wayang also known as the Indonesian word for theatre [literally “shadow”]. The term is used to refer to a kind of puppet theatre whilst sometimes referring to the puppets itself. Kulit is added to imply that the puppets are made of animal hides, mainly bovine, as it means skin. Wayang kulit is the best known, providing a unique combination of ritual, life lessons and entertainment. It is a form of theatre employing light and shadow to play a crucial part in the performance.

The wayang kulit , however is a rare and unique form of storytelling as it WAYANG KULIT BACKGROUND incompasses of music, light, shadow and a masterful story derived from inﬂuences of Hindu and Javanese cultures. When Hinduism spreads to Indonesia from India , its culture begins assimilating into the local cultures. There are changes to the wayang kulit as it assimilates with the local culture such as its appearance to better suit the norm. When Islam began spreading through the South East Asia region, any forms of God or displays of god in human form was prohibited. Several characters or storyline would have to be converted or eventually dismissed. The wayang kulit spreads throughout the regions of SouthEast Asia, with each state conforming to their respective cultural inﬂuences. Although their appearances might differ, their setup and meaning remains.

Behind the cloth that separates the audience and the Tok Dalang, which can be seen operating the puppets.

. The setup of the performance where instruments and musician positions themselves alongside the Tok Dalang.

HISTORICAL VALUES OF THE WAYANG KULIT WAYANG KULIT AS A MODE OF ENTERTAINMENT WAYANG KULIT AND FACTORS OF ITS FALL

In the past, wayang kulit has been used as a storytelling media to pass down stories of old to the younger generation. The wayang kulit popularity quickly diminishes as the newer generation came to be. As they no longer interest themselves into these arts and performance, the wayang kulit itself faces a grimm future as the younger generation ﬁnd it Their stories comes from ancient epics or literature such as the lackluster and old. As a result, few are willing to even take up the craft of Mahabharata and the Ramayana. Although there are modern wayang kulit much as well to watch a performance. versions, the performances are abbreviated unlike the traditional shows which lasts throughout the night. In this changing era, several factors are deemed to be the root cause of the wayang kulit disappearance. One of the major factors is the emergence of modern media. With the appearance of the moving pictures and the internet, youths would turn to such medias to entertain them rather than an older form of entertainment. Tagging along is the proliferation of the cinema and affordable televisions as it provides an easier mode to view performances.

The ‘pondok wayang’ where the performance for wayang kulit were performed at.

Puppets of the characters Hanuman and Sri Rama.

A script of the the sanskrit, tales of the Ramayana.

Behind the scenes where the Tok Dalang and the troupe of musician during a performance.

KNOWING THE TOK DALANG Tok Dalang in Kamus Dewan - means a person who is responsible for manipulating the wayang kulit puppet while telling a tale/story. In Sanskrit it means a learned person or scholar. Starts as a messenger boy. While also making himself to be accepted as a pupil to Tok Dalang. They should have high creativity and enthusiasm. They should also learn skills outside of puppetry making also. Knowledge are learned through experience shared from other pupperters. If they acquired a certain skill , they will be called Dalang Muda. Taught various way of using the voice creatively.

The sons of dalangs were often apprenticed out around the age of 13 to another dalang. His role included helping to set up the screen ahead of the performance, performing the afternoon show before a main all night wayang, and sometimes acting as an accompanying musician or as a assistant puppeteer. He would also end up marrying his masterâ&#x20AC;&#x2122;s daughter who has been trained as a gender player by her mother.

Much of the traditional training of dalang was in the form of a practical apprenticeship, with a certain amount of spiritual training thrown in. This included meditation and a form of aesthetic exercise known as kungkum, in which meditation is carried out naked at night while immersed up to the neck in water. Suck practices are to be essential in building up the stamina to perform for nine hours at a stretch. Further ascetic element is that dalangs never eat during the performance.

The woman of these families traditionally were expert players of the Gender, an instrument which has a particularly important role in accompanying wayang performances.

POPULAR TOK DALANGS IN MALAYSIA EYO Hock Seng

Muhammad Dain bin Othman

Yusoff bin Mamat @ Pak Soh.

THE STAGE DIMENSIONS

The height of the front of the stage is usually around 3.8 m.

The stage is usually lifted above the ground around the height of 91.5cm till 1.22 m

The width of the stage is usually in between 3.6 m and 4.5 m.

1 5 3

4 5 TYPICAL STAGE DESIGN

The depth of the stage is usually around 3m. The height of the rear of the stage is usually around 2.3 m.

THE STAGE COLUMN ARRANGEMENT The theatre is erected using posts. Using stem trunks of pinang or nibong palm, bamboos and also wood.

INTERNAL STILTS LAYOUT

The stage has 4 main posts and sometimes a central posts called, Tiang Sari. The stem are split into 2, to make to 2 separate columns. At the end of the column are used to receive the roof beam , which tied together using rattan or bamboo rope. There are also 15 internal stilts used, called the Tongkat. 13 of the stilts are made from the Pinang. It has 11 semi circular column and 2 whole circle column. The other 2 stilts are made from bamboo.

MAIN STAGE COLUMN ARRANGEMENT

THE STAGE ENTRANCE

CRISS-CROSS STEP

STUMP STEP

The wayang kulit stage usually have one entrance that is used for both as an entrance and also as exit. It is located at the right hand side.

Simple construction

Easiest to build

Can be constructed using materials made up of bamboo, wood, nibong or pinang

It is more suitable if the stage is closer to the ground.

It is believed that having an exit and entrance on the left brings bad fortune and is deemed unlucky.

It rests on the end of the ďŹ&#x201A;oor beam.

The diameter of the stump should be wide enough to step on it.

Since it is a taboo to turn back on something or people, back entrance/exit are forbidden. While it is inconvenient entrance/exit on the front.

Same sized pole are placed criss-crossed of each other and are tied with rattan ropes.

Its is buried to certain depth to make it stronger and stable.

have

CRISS-CROSS STEP

STUMP STEP

FORMATION OF STATES

The Basic States

Humble (Reﬁned) Self-conﬁdent (Vigorous)

Wayang Kulit puppets with different gestures.

Every Puppets Has Its Unique Expression. In a Wayang Kulit, the puppeteer would create the puppets with various states. It then becomes a paradox since ones know that Wayang Kulit performance lasts for ﬁve to six hours.

Respectful but self-conﬁdent (Vigorous & Sitting) Taking Position (Reﬁned)

Puppets in different states

Humble & Respectful (Reﬁned)

Provocative (Coarse)

Respectful but self-conﬁdent (Vigorous & Standing)

Provocative (Coarse & Head up)

TRADITIONAL PROCESS OF MAKING WAYANG KULIT 1. Cowâ&#x20AC;&#x2122;s skin is dried.

8.This rope will be tied once the statue has been colored according to the characters depicted in certain stories.

2. The puriďŹ ed cow or goat's skin is soaked in a mixture of salt, pepper, ginger and lemongrass for a few days.

7.The rope is used to create movement on the lips, hands and other members needed for the statue.

3. Once the skin is completely

dry and odorless, the hair on the dry skin will be scrubbed using a glass sheet until it is clean.

6.The most commonly used colors are from dye fabric and watercolor.

4.After 1 week, the skin enters the process of making designs and rough patterns on the puppets.

5. The skin is punctured using paper circles to create the character's face, body, clothes and accessories, also known as Tatah.

MODERN PROCESS OF MAKING THE WAYANG KULIT 1. Draw your character on a piece of cardstock or use a template

8. The stir stick is sideways from the arm which makes the puppet easier to manipulate.

2. Add some color on it, usually used color are watercolor, marker and color pencil

7. Attach the stick on the left hand and the right hand to operate the hand from the puppet with robe

3. Cut out all the pieces of your puppet and add some embellishment, decoration with craft equipment

4. Make joint for the movement of the puppet

6. Attach a skewer to the back of your puppet with tape or rope as the frame for the support of body

5. Add coating to the puppet, it will make the puppet shiny and not easily fade

INFLUENCES IN WAYANG KULIT JAWA INFLUENCE IN WAYANG KULIT Wayang Kulit Jawa was originated from Indonesia and is performed today by the descendants of the Javanese immigrants who settled in the southern state of Johor many decades ago. Today, this form of shadow plays still maintains the basic features of the Wayang Kulit Purwa of Indonesia, including the use of stories and characters from the Mahabharata epic and the musical accompaniment of the Javanese Gamelan.

JAWA INFLUENCE IN WAYANG KULIT Wayang Kulit Melayu is strongly inﬂuenced by the Wayang Kulit Purwa of Indonesia. The story of Wayang Kulit Melayu focuses on the episodes of the Mahabharata epic. The form and design of the puppets are are nearly identical to the styles of puppets from Java and Indonesia however, the Wayang Kulit Melayu is rarely performed as it is extremely difficult to ﬁnd experienced puppet master.

MALAY & THAI ( SIAMESE ) INFLUENCE IN WAYANG KULIT Wayang Kulit Gedek is a mixture of Thai and Malay folk styles and it is performed in the northern peninsula states of Perlis, Kedah and Kelantan and it is widely known as Nan Talung in Thailand. It is performed by both Thai and Malay people using a mixture of Thai and Malay language as well as the southern Thai dialect. The stories features the local tales and episodes from Ramayan epic called The Ramakien in Thailand using small sized, ﬂat leather puppets.

MALAY & THAI ( SIAMESE ) INFLUENCE IN WAYANG KULIT Wayang Kulit Kelantan , also referred to as Wayang Kulit Siam originally from and played in Kelantan, Kedah and Terengganu and formerly played in Perak and Pahang. This is the most famous traditional theater among all the other wayang kulit in Malaysia.

INFLUENCES IN WAYANG KULIT HINDU AND ISLAMIC INFLUENCES IN WAYANG KULIT Hinduism arrived in Indonesia from India before the Islamic and Christian era. Sanskrit became the literary and court language of Java and later of Bali. Wayang Kulit was later assimilated into local culture with changes to the appearance of the characters to resemble cultural norms.

In a wayang kulit performance, the puppet ﬁgures are rear-projected on a taut linen screen with a coconut-oil, which in modern times is usually replaced with electric light to casts shadows onto the screen.

When Islam began spreading in Indonesia, the display of God or Gods in human form was prohibited, and thus this style of shadow play was suppressed. King Raden Patah of Demak Java, wanted to see the wayang in its traditional form, but failed to obtain the permission from the Muslim religious leaders. Religious leaders attempt to skirt the Muslim prohibition by converting the Wayang Golek into Wayang Purwa made from leather and displayed only in shadow instead of puppet themselves.

The dalang (shadow artist) manipulates carved leather ﬁgures between the lamp and the screen to bring the shadows to life. It's mainly about good against evil. When the dalang animates the puppet ﬁgures and moves them across the screen, divine forces are understood to be acting in his hands with which he directs the happening. The lamp is a symbol of the sun as well as the eye of the dalang.

WAYANG GOLEK SHOWING THE FIGURINES OF GODS

WAYANG PURWA SHOWING THE SHADOWS OF THE CHARACTER FIGURINES

INFLUENCES IN WAYANG KULIT ISLAMIC INFLUENCES IN WAYANG KULIT

This explanation creates a sense of reassurance to the Muslim people and mualaf (a person who is learning Islamic teaching and has intention to embrace Islam as his/her religion), who were unsure whether wayang is in-line or contradicting with the Islamic teaching. This whole transformation and interpretation matter seems too far-fetched for two different reasons. Firstly, the basic shape of wayang is not drastically changed; it was already a similar shape with a ďŹ nal product after the transformations. And secondly, simply by observation, there is a big gap in the alterations from the Arabic calligraphy to the wayang shape, which makes one think that the whole idea is a little bit too obscure. Moreover, it is unclear when the conception of this idea. It might have been convened long after the coming of Islam to Java itself.

POPULAR CHARACTERS IN WAYANG KULIT WAYANG KULIT KELANTAN

SRI RAMA

LAKSAMAN A

PAK DOGOL

Characters from the epic tales of Ramayana.

RAWANA

SITI DEWI

HANUMA N

WAK LONG

COMPARISON OF CULTURAL INFLUENCES INDONESIA (JAWA) AND MALAY

Indonesia’s shadow puppet have a very distinct difference compared to Malaysia’s wayang kulit . The puppets are generally more slender. With longer and slender limbs compared to the Malaysian wayang kulit. The puppets have lesser ornamentations and has smaller to no crowns. The javanese puppets also has lesser color contrast compared to the Malay wayang kulit.

SRI RAMA

RAMA

HANUMAN

ANOMAN

In Javanese wayang kulit characters with smaller eyes or has downcast eyes are identiﬁed as good character. Javanese would also include Garuda, large bird like mythical being into the wayang kulit. Gunungan is used as prop before and after the performance

SITI DEWI

SHINTA

RAVANA

RHAVANA

COMPONENTS OF THE STAGE BACKSTAGE COMPONENTS KELIR

PUPPETS

Kelir is the white cloth screen used to portray the shadow plays of the wayang kulit.

A standard collection comprises about 100 puppets. Each puppet is chiselled, coloured and has a conventional headdress, which provides for instant recognition,

GAWANG

Gawang is the border underneath the Kelir and acts as a screen frame

GEDEBONG

Gedebong is the box used to place all the wayang kulits safely during and after performance.

GAMELAN

Gamelan is the Indonesian orchestra

TOK DALANG

Tok Dalang and his puppets are treated with great respects. Tok Dalang is kind of a priest and he does ritual prayers to bring the puppets to life.

BLENCHONG

Blenchong is the light source used to illuminate the wayang kulit performance

COMPONENTS OF THE WAYANG KULIT STAGE THE GAMELAN ( MUSICAL ORCHESTRA ) INSTRUMENTS GENDANG IBU & GENDANG ANAK

GEDUK IBU & GEDUK ANAK

The frames are braces to the body of the drum circular pieces of split bamboo on which laces of rattans are looped.

Geduk is a barrel drum which also appears in 2 sizes, large and small.

The Y-shaped laces can be tightened to raise the pitch and change the timber.

GENDANG IBU

GENDANG ANAK

GEDUK IBU

Each drums have 3 different sounds, depending on the way it should be hit. The surface at the base of the drums can produce a high pitched sound and on its face,it can produce louder sounds. The difference between the Gendang Ibu and Gendang Anak is the pitch they produce.

It is crafted from the wood of the nangka tree. The 2 heads of the cowhide are glued to the body and only one head is stretched to extreme tautness before is attached to the body. This is because one side is struck. The others side of the geduk is only used when the ďŹ rst wears off.

GEDUK ANAK

GEDOMBAK IBU & GEDOMBAK ANAK The Gedombak has a goblet shaped body constructed from one piece of Nangka wood.

GEDOMBAK IBU

GEDOMBAK IBU AND ANAK

A membrane of goat hide is stretched over the opening of the drum using rattan laces which are attached to the skin with small loops of twisted strings sewn into the goat hide. The rattan lacing is, in turn attached to a metal ring to tighten the laces and the skin. The Gedombak comes in 2 sizes which is the Gedombak Ibu and Gedombak Anak.

COMPONENTS OF THE WAYANG KULIT STAGE THE GAMELAN ( MUSICAL ORCHESTRA ) INSTRUMENTS SERUNAI Serunai is a type of traditional musical instrument under the category of aerophones. The serunai players in Kelantan now are mostly very old people and there are only few of the wayang kulit troupes still performing in Kelantan. TETAWAK ANAK

TETAWAK IBU

TETAWAK Tetawak is a musical tool in the shape of a big tray made of steel. These too come in 2 sizes ibu and anak. The tetawak ibu produces a low pitch and and vibrates whilst the tetawak anak produces a higher note. These instruments are able to produce sounds like Chak, Dok. and Peng.

KESI It is an idiophonic device made of copper sheets. The middle part of the surface looks curved inside. Serves as a rhythm complimentary instrumental in the traditional brass ensemble. They are enclosed in two pairs, one of which is permanently nailed to the trunk and the other is mounted on a rope. To produce the sound, the instruments are presented using a pause method or tempo. Used in traditional dance ensembles originally developed in Kelantan such as puppets and Mak Yong.

RITUALS OF THE WAYANG KULIT PERFORMANCE These are some of the routines that will be performed throughout each performance Berjamu Ceremony (Feast for the Spirits) Peace Offerings The very beginning of the series of performance, offerings and prayers are made to placate the spirits and achieve harmony during the performance.

This ritual is performed after the prayers of the peace offerings. The puppeteer will go into a state of trance and offers various food-offerings to the denizen of the spirit world. According to tradition, a puppeteer must ďŹ rst seek permission by calling out to the spirits of those who came to the performance so that the show would seem more lively itself with their presence.

PUPPETEER AND HIS TROUPES PERFORMING PRAYERS AND INVOCATIONS

These prayers are made to the Almighty God in reality. This is to bless the puppeteer and his troupe with prosperity, longevity and is able toA keep the audience enthralled with their performance. The Berjamu Ceremony leaves a deep psychological effect on the puppeteer because the puppeteer must focus all his mental strength to the performance including the ability to memorise interesting dialogues

OFFERINGS PREPARED IN TRAY

PUPPETEER IN TRANCE

RITUALS OF THE WAYANG KULIT PERFORMANCE These are some of the routines that will be performed throughout each performance The 25 Ingredients of Berjamu Ceremony These ingredients are placed and arranged on a big tray and will be smoked with incense. Once the invocations are completed, the puppeteer will stomp his feet on the ground 3 times then slaps the ground 3 times with his hands, followed by a cry as a signal for the Lagu Bertabuh (music overture) which is the opening of the performance.

SIRIH PINANG (PREPARE D QUID)

KEMENYA N (BENZOIN)

COIN

ROASTED CHICKEN

BERAS KUNYIT (TURMERIC RICE)

PISANG RAJA

KELAPA TANPA SABUT (HUSKED COCONUTS)

KELAPA TANPA SABUT (CANDLENU T)

EGG

SHALLOTS

GARLIC

RED CHILLIES

COCONUT OIL

COCKERE L & HEN

BROWN SUGAR

FRESH WATER

A LUMP OF RICE

CLOTH

RAW THREAD

NEEDLE

PERFUME

COMB

PARCHED RICE

PULUT KUNING (YELLOW GLUTINOU S RICE)

RITUALS OF THE WAYANG KULIT PERFORMANCE These are some of the routines that will be performed throughout each performance POHON BERINGIN

Pre-performance routines According to tradition, the performance should start right after Isyak (night prayer) at 9pm. The play begins with the master puppeteer making a short introduction not more than 30mins, this is when the iconic pohon beringin or pokok bayan and the main characters will be placed at the center of the screen. The audience should be seated comfortably, prepared to watch the show. The puppeteer will manipulate his puppets and introduce the character in a series of changing voice to ďŹ t the characters personality.

PUPPETEER LINING UP THE MAIN CHARACTERS IN FRONT OF THE SCREEN

POHON BERINGIN FROM THE AUDIENCE VIEW

POHON BERINGIN FROM THE PUPPETEERS VIEW

Children will always occupy the front rows. The puppeteer will usually try to access his audiences and their wishes. As the elderly came for a good story, and the younger generations wanted more love story and or comedy, he may however alter the storyline or even invent a new one. Once the introductory prologue has ended, the performance proceeds with the main plot by the puppeteer.

RITUALS OF THE WAYANG KULIT PERFORMANCE These are some of the routines that will be performed throughout each performance Main Plot The main plot is always started up with a poem that best ﬁts and describes the plot. This helps the audience grasp the incoming storyline in a mysterious way, the story then helps to ﬁll up the gaps in the poem. At the end of the day, the story told by the master puppeteer gives a better understanding of the poem and provides moral value not just to the children but the whole audience.

A GLIMPSE OF THE BACK OF THE STAGE AND THE PUPPETEERS AUDIENCE ADMIRING HIS WORK

THE MASTER PUPPETEER AT WORK WITH HIS TROUPES PLAYING THE MUSICAL INSTRUMENTS AT THE BACK OF THE STAGE

It is seldom a storyline can be completed in a night, the shortest storyline can take up to 3-4 nights. Stories from the Ramayana series consists of more than 30 episodes in which the story continues for 30 nights. Even though some of the audience falls asleep during the performance but that doesn’t mean they are bored of the story as they still return more more every other performance night.

PUPPETEER TELLING HIS STORY

RITUALS OF THE WAYANG KULIT PERFORMANCE These are some of the routines that will be performed throughout each performance Poem

Dari Mana Abang Punai Melayang Dari Sawah Ke Bendang Padi Dari Mana Tuan Kasentah Padi Dari Mata Air Turun Ke Hati

Tetak Jenaah Buat La Sangkut Anak Ikan Di Dalam Temilar Hak Mana Hamba Makan Minta Halal Berhalal

Seorang Che Yam Pandai Pergi Ke Barat Sampai Ke Barat Kaki Kena Duri Tuan Tengok Wayang Boleh Buat Ibarat Ibarat Tuan Gat Tuan Sendiri

Tanah Ini Tanah Yang Lemah Tanam Kedudut Sepohon Dua Tanah Ini Tanah Bertuah Nak Tumpang Duduk Gat Semalam Dua

Lembu Siapa Duduk Dalam Pagar Tebu Sepotong Abang Panjang Sedepa Ilmu Siapa Cik Tuan Hamba Dok Pakai Seribu Tahun Hati Mana Tak Lupa

Dari Jauh Abang Berlari Masuk Sampai Dekat Merenap Duduk Angkat Tangan Menyembah Maklum Harap Ampun Beribu Ampun

EXAMPLE POEM 1

Tetak Jenaah Buat La Sangkut Anak Ayam Dalam Pagar Minta Maaf Adik Kakak Ini Wayang Baru Sampai

Rumah Raja Balai La Besar Pintu Kebun Abang Melotakkan Balai Itu Saja Hamba Boleh Khabar Sebutir Tanjung Rantai Sekerat Rantau

EXAMPLE POEM 2

A poem is recited before and after the main plot which acts as an opening or a recap and a summary of the storyline. Here are some examples of poem which would be recited.

EVOLUTION OF WAYANG KULIT The Adaptation of the Wayang Kulit Culture through different eras Since wayang kulit is about telling stories via manmade representative ﬁgures, the storyteller needs to keep things fresh. Thus, new ﬁgures are created. Godly Figures

Heroic Figures

Example images

1700A.D Examples stories

Religious Stories

Present Day

The form and ﬁgures of the wayang kulit always depicts what is relevant or trending at each era, thus ‘evolving’ over time to keep the crowd interested to stay for the story told.

Story of Dewi Siti from Hindu epic Ramayana Modern Comic book characters

Contemporary Heroic Figures

Wayang Gadek Characters

Modern Movie Characters

Contemporary Figures

Protagonist Characters

Humorous Characters

Comedic Figures

EVOLUTION OF WAYANG KULIT The Adaptation of the Wayang Kulit Culture through different eras Other than the evolution of form and ďŹ gures of the wayang kulit, the mechanism of the operation of the wayang kulit too have evolved as technology advances.

Mechanisms With more complicated mechanisms used in their puppet, the better the puppeteer can maneuver its puppet to look more realistic and human-like.

Earlier versions, no Later versions, Breakdown of joint movable limbs maneuverable system in the movable limbs limbs

Materials

Source of Illumination

As more tools are created to allow more materials to be easily shaped, the wayang kulit makers too venture into other materials such as metal sheets.

Bullskin Hide

Aluminium Sheet

After the lightbulb was made accessible, the ďŹ&#x201A;ame lit candles were naturally replaced. It offers more safety and produces less heat which allows the puppetmaster to perform with comfort.

Flame lit Candles light source

Lightbulb

Mechanics of Light & Shadow in Wayang Kulit An oil lamp or light bulb is placed between the puppeteer and the puppets while the puppeteer controlling the puppets so that only the puppetsâ&#x20AC;&#x2122; shadow can be casted on the white screen.

The puppeteer plays the bamboo stick to make the puppets move and ďŹ&#x201A;ips the direction, making the shadow casted more lifely.

The bamboo stick will then attached to the joint of the puppets by using the nails, hence the puppeteer can control it through the bamboo sticks.

A white cloth is prepared as the screen of the Wayang Kulit.

STEP

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STEP

WHEN AND WHERE IT IS PLAYED WAYANG KULIT OLD TIMES During the 90's, wayang kulit is generally used for general entertainment purposes, during harvest seasons, during village festivals and others. Most of the wayang kulits are played deep in the villages

CURRENT TIMES After a ban that was imposed in Kelantan regarding playing wayang kulit because of its non-islamic culture, it has drastically reduced the wayang kulits even after the ban was lifted.

KELANTAN:A LIVING HERITAGE Being held at George Town, its show and exhibits the culture of Kelantan especially the wayang kulit. It is intended to showcase and further expose wayang kulit to other parts of the Malaysian states.

WAYANG KULIT SETTING IN A EXHIBITION