Keeping Craft Alive: The Stories on the Tapestries

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How do some traditions survive and others die? Why can some knowledge be transmitted to posterity, while others are permanently lost in time?

On an island where culture really lives on, it’s easy to think that traditions stay forever, but that’s not the case. Stay, qood to accommodate. Change, ironically, is no constant thing, and when it comes to Bali’s traditional art scene, change has been a vehicle for both preservation and abandonment.

This is part 1 of a three-part article on ‘Karfts living conservation’, read all three parts download our May-June Edition for free here.

Part I: History of the Tapestries

Panna holds a special place in the cultural heritage of Bali, the use of textiles is a living tradition in itself. Imbued with mystery and meaning, they are more than just clothes. The pollen; the ideas ideas and I drank linens are required in the Ritual; and then also about the appropriate ceremonial dress to be worn. This created a charming variety of textiles on the island.

Many of these cloths were made in the manner of the ancestors. The cotton was collected, the threads were dyed and dyed in natural colors, and the women wove in their homes. The trickiest village. However, due to constant rites and rituals, the population of Balinese textiles disappeared over the decades.

Sequel to Life A trade fair business dedicated to supporting Indonesian textile arts since 1998, it was part of a revival of weaving traditions across the island.

There was one example of this update to applaud emblematic ritual cloth of Nusa Penida. The red earthen support came from the deep roots of the Morinda tree, which had been cut down on the island of non-existence. Threads of Life to facilitate the planting of 500 Morinda trees to ensure future supply; but he also had to introduce a natural red recipe from Sumba to revive the “lost knowledge” of the natural dye process.

Time is indeed a tyrant: the flame of knowledge is extinguished only in one generation, hence why the embers are perpetually standing.

There are many things that people get from art. When Bali’s tourism industry began to grow in the 80’s, many women exchanged their efforts for work: carrying rocks on their heads for infrastructure work provided better financial guarantees than bright curtains. The hotel used energy. Slowly, less and less people consolidate this hereditary knowledge into a physical form, the proof of its existence is slipping away not only from the makers, but also from the users.

The simpler ones thus take their place for everyday use. They are affordable and pass the test, but it lacks the spirit of its predecessor. Not even a large country. Some know generations only snatched away by this great inheritance.

Of course there is hope. Subtle, delicate to applaud Nusa Penida is in high demand, especially from the local Balinese market. There is now an authority attached to wearing natural cloth. As living standards arise, so also the need for type and quality in ceremonial dress. Similarly for ambiguoustraditional maps from Sidemen Karangasem Regency. A growing local market has helped these arts not only survive, but thrive. Weavers may remain as slaves if there is a market for their labor; The promised return is a great and important moment.

Such garments are aesthetic, beautiful and graceful – what about a cloak that has none of these attributes? This is the challenge of the current sequels of life.

It is a type of yarn cut babies (Ritual) maps were used for specific ceremonies, such as rainbows Pressblack and white would take awayand album cella These heirlooms have largely been abandoned, replaced by plain polyester. Although the pattern is quite clear, their enigma is profound. Woven with whips and sticks, these maps are used for essential rites of passage, life-cycle ceremonies such as the ceremony of touching a 3-month-old baby to the ground.remove)filed with the tooth (metatah) and cremations (cremation).

The colors of these clothes are told how it relates to the earth and the elements, such as eggs, stones and grass alang-alang; Stripes and tessellated shapes represent limits, boundaries and balances. These will be taught the legendary riddle in the ceremonies, with the knowledge of becoming incorporeal. Some Balinese never grew up with these great lessons. Indeed, the original maps have been repeated over and over again in the last decades, to be collected and remembered together.

As for the ‘resurrection’ of such cloth, Sequelae vitae believes that there is power in cultural memory. That, if brought back to the right communities, they are all nostalgic for the time meaning something that he will demand will be spread. To them there is speech without a voice, something magical and emotional, something ‘taksu’ in the cloth that seems to live. perhaps the I drank Soon the weavers will be busy again.

The thread of life
Instagram: @threadsoflifebali

This is part 1 of a three-part article on ‘Karfts living conservation’, read all three parts download our May-June Edition for free here.

Edward Speirs

Edward Speirs

Edward, or Eddy as he prefers to be called, is the managing editor of NOW! Bali and guests NOW! Bali Podcast. He enjoys photography, rural travel and loves introducing his work to people from all walks of life.

Source: Elaboarated and Quoted From Many Source

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