Born with a Silver Spoon – The Story of the Silver Collection of Senijari

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I had always wanted to create a Senijari collection of luxury crafts from my home state, Kelantan, in the north of Malaysia. Kelantan silver is renowned for its intricacy of design and superior workmanship. Silversmiths use two kinds of techniques – filigree and repousse. Kelantan silversmithing is getting more rare as its use of machinery is limited – the craft is still done mainly by hand.

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Remember our earlier encounter with a silver artisan, “Pok Wi” who has been a silversmith for 40 years? When we finally met Pok Wi ( link to our earlier post) earlier this year, it was to create Senijari’s first prototype for a collection of bespoke silver jewellery.

I first thought up of jewellery in the shape of a spoon and other implements because of a necklace I have. The necklace was from the legendary Collette. Colette was a lifestyle, design store of curated fashion and accessories in Paris. It was a fashion favourite that unfortunately has closed down recently. They had a wonderful section that featured jewellery designers. I was particularly taken by two necklaces I saw there – one had a spoon as a pendant and the other a fork. Both had large stones stuck on them that were made to look like each had scooped up a large diamond. They were witty, fun and cool. I had thought to myself, these pendants would look great done in Malaysian silver, with a local twist.

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Pok Wi turned an idea that crossed my mind several years ago into reality today. The initial Senijari collection has two pendants, Born With a Silver Spoon and Ukir Bulan (Crafted Moon) – Both are beautifully hand carved with traditional motifs from Kelantan by Pok Wi and his artisans. In addition, the collection has a series of small silver charms for pendants or bracelets that reflect Kelantan iconic culture – the Keris, the Wau Bulan and the Wayang Kulit.

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The idea of a silver spoon is historically interesting in Kelantan royal history – royal Malay families and at times, non-royal ones have a tradition of spooning with a silver spoon a bit of salt and then honey to a new born after 40 days – to initiate the baby into the world – and perhaps its first taste of its ups and downs symbolized by the salty and the sweet taste of life!

 

 

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This collection will be the beginning of unearthing designs and motifs based on the unique Kelantanese culture and history, and the start of collaboration with talented Kelantanese artisans. We hope to tell many more Kelantan stories through our crafts. This is only the first chapter of the Kelantan story.

The Future of Craft – the Young Artisans of National Craft Institute (Institut Kraf Negara), Kuala Lumpur.

 

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In a green, peaceful oasis just a few kilometres from the KL city centre, there was a big secret that hardly anyone from the creative industry knew about – until now. Institut Kraf Negara (IKN), or the National Craft Institute is a campus of 250 students studying six of Malaysia’s crafts under the patronage of Kraftangan Malaysia – textile weaving, batik making, basketry, wood carving, ceramics and jewellery and metalsmithing.

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For 3 years, these students learn craftsmanship and skills that are vital towards preserving our culture and heritage – they are an important part of Malaysia’s future of crafts.

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The founder of Senijari who is also the current Chairwoman of Kraftangan Malaysia visited the IKN campus recently to chair a roundtable discussion amongst a selection of Malaysian’s creative industry professionals from architecture, fashion, film, interior design and branding agency. The British Council facilitated the discussion as part of their Craft Futures program in the region.

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The creative professionals were surprised to find a craft school in Kuala Lumpur with students from all over Malaysia who showed skills and passion in continuing Malaysia’s craft heritage. They were suitably impressed, and excited at this opportunity to create meaningful collaborations with the young, skilled and creative talents of IKN who are like undiscovered gems.

Amongst others, participants such as Fashion designer Melinda Looi, Lina Tan of Red Films, Lillian Tay, the President of the Malaysian Architecture Association, architects and furniture designer duo Farah and Adela of Bikin Studio and William Harald Wong, owner of WHW Associates, a design agency provided critical feedback on how to integrate the IKN students closer to the creative industry in Malaysia. It is now critical to inject fresh innovation and new life in Malaysian crafts and the other creative industries as well as to provide a clearer career path development for our future artisans.

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The students come from IKN come from all over Malaysia, and we were delighted to speak to young women who were defying gender stereotypes in the departments of metalsmithing and wood carving – a very physically challenging area of crafts. We spoke to a ceramic student from Sabah who spoke of her reason for studying the craft of ceramics – simply a keen interest in the craft.

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Students from Sabah and Sarawak were also doing basketry as they learnt the craft from young and also learnt to love the craft. In the batik department, a third year student was producing an intricate “canting halus” piece of batik with dedication, and was beaming with pride when Melinda Looi admired her work and encouraged her to continue creating beautiful pieces of batik.

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It was refreshing to be among students who look at Malaysian crafts as their future. IKN is doing important work, and now will need even more support from the creative industry, the Ministries and policy makers so that their graduates survive and thrive in the global creative industry.

IKN’s convocation is coming up on the 13th of November, and as we are at the threshold of 2020, we see the unique potential of IKN to be one of the premier creative hubs in Kuala Lumpur and Malaysia with our young artisans leading the way. In an exciting development, IKN is planning to open up the campus to the public with their graduate shows and new short courses. The creative industry is already talking about potential collaborations on internships, creative projects and even a reality TV craft & fashion show. The future of craft suddenly looks brighter.

 

 

 

China, Langkasuka and the textile world in Kelantan

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In researching motifs for textiles and jewellery, I discovered fascinating historical links between the Chinese, the ancient Langkasuka kingdom in Pattani and Kelantan.

Chinese sea trade with the Malay World began as early as the fifth century, stimulated by demand for luxury goods by the Chinese royal courts. It has been reported that spices, turtle eggs, perfumed woods, ivory and tortoise shell are some of the coveted items by the Chinese nobility. The Chinese apparently influenced textiles in the Malay World including Kelantan as Chinese envoys brought silk, which influenced the use of silk by royals in Malay palaces. One prominent Malay kingdom mentioned in Chinese history is “Chi Tu” or the Red Earth Land (Tanah Merah), believed to be interior of Kelantan. Chi Tu guo ji, an account written by Sui Dynasty envoys after a visit to Chi tu in 606-10 CE describes highly organized and wealthy royal court, where the Chinese envoy was offered a gold “hibiscus” crown and camphor. Nearby, the coastal kingdom of Langkasuka, located near Patani (south of Thailand) was a centre for Malay culture due to its proximity to the states of Kelantan and Terengganu in Malaysia, where songket weaving is predominant. The culture of weaving was prevalent in the Langkasuka courts. (Note: this paragraph is extracted from “Songket Revolution”, written by Noor Azlina Yunus, published by Yayasan Tuanku Nur Zahirah, 2008).

On a recent trip to Kelantan, a visit to Rumah Gahara, the batik workshop for Ruzz Gahara brand brought these historical links to the fore once again. In the midst of designing batik motifs that would be distinctive to Ruzz Gahara’s Kelantanese roots, they unearthed ancient motifs that came from or influenced by the Langkasuka kingdom and applied these intricate, historical motifs on batik.

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Ruzz Gahara’s batik blocks were very different and unique in their intricacy. When I spoke to a researcher and culture specialist from the University of Kelantan, she spoke about how she felt that the way batik motifs have been developed recently lacked historical reference and grounding, therefore losing their potential to be meaningful and engaging to the customer. The motifs did not have a story. By linking and reminding people about their history to ancient Langkasuka and Kelantan’s history, the Ruzz Gahara motifs have come to life with a colourful, vibrant history.

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The silk, organza silk, cotton silk used by Ruzz Gahara for its collection link it further to the history of silk in this region – China. Innovation does come from history after all, and I thank Ruzz Gahara for being one of the champions of history in preserving our heritage, culture and craft.

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We shall continue unearthing Malaysia’s fascinating historical links through its textile and material culture. Stay with us!

East Coast of Malaysia : The Cultural and Craft Hub

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Malaysians are fortunate that we still live close to our culture, traditions and craft. Our culture has provided us beautiful and useful objects as well as a sense of community and belonging to a distinct and rich culture. The East coast of Malaysia namely the states of Kelantan, Terengganu and Pahang are particularly known for their textile culture. Batik, songket, tenun and telepuk are some of the known textiles that are still made and designed by hand either on the loom or in the case of batik, with the wax resist and dye along with brushing technique.  Other major crafts in the East Coast of Malaysia include wood-carving, silver-smithing, copper and the art of weaving mats from rattan or pandan leaves.

On a trip to the Pesta Kraf Pantai Timur (East Coast Craft Festival) recently, Senijari’s founder and creative director discovered that our artisans remain committed to their craft and that craft culture is alive and well. However, the outside world seems unaware of our heritage, or at least knows little about them. We need to find creative ways to tell our craft and artisan stories better and broadcast them to the wider world so that more know about our wonderful heritage of handicrafts.

One of the highlights of the trip was meeting two artisans who were given the award of “Adiguru 2018”. The Adiguru is an award by Kraftangan Malaysia that recognizes the mastery of craft by master artisans who can also teach their craft. The master artisan who is awarded the Adiguru title receives a cash prize and a monthly stipend for a fixed period of time.

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Pak Non, the Master Wau maker was awarded the Adiguru title in 2018 for creating the unique 5-layer carved motifs for traditional kites based on the Wau Kelantan – most kites are made with only 3 layers of carved motifs on coloured paper. Pak Non, who is passionate about his Wau craft, cites nature, especially the surrounding paddy fields as his inspiration.

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Even though he makes the Wau Kelantan, he actually resides in Kedah and goes for kite flying competitions with his kite creations. He says that the competition for the best traditional kites is based on how the kite looks on the ground and how high the kite can fly – so the Wau is assessed both on its physical beauty on earth as well as its technical prowess in the sky.

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Cik Kalsom, a petite and diminutive mat weaver from Terengganu is passionate about and proud of her masterful skills. She was awarded the Adiguru title in 2018 for her mastery of weaving mats and other products using the intricate and complex “kelerai” technique, with soft pandan leaves.

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This technique according to her is backbreaking and not easy to learn. She laments that the younger generation is not as patient when learning, and usually end up adopting easier techniques of weaving that are not as intricate as the “kelerai” technique.

She continues to weave despite her back aches, as she says that it is reward enough when she sees a piece of mat of complex patterns completed, the sense of accomplishment and pride at her skill motivates to once again continue.

The Pesta Kraf Pantai Timur in Kelantan and Terengganu displayed some of the best artisans and their work in batik, songket, wood carving, silver and copper.

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We visited batik workshops in Kelantan that were highlighted for their authentic and traditional batik block print and wax resist techniques. One workshop, Ayu Batik, was remarkable for their environmentally friendly approach by recycling water used to wash the dye off the batik textiles as well as recycling the wax used for the batik dyeing and colouring process.

 

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Ayu Batik has an incredible collection over 5000 batik block prints dated from the 60’s, some of which are meticulously restored and showcased. Its legacy continues with the owner and his son who continues designing with the authentic block print technique for batik.

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In Terengganu, the wood carving association at Desa Ukiran Kayu in Besut presented their impressive skills in traditional wood carving in a beautiful gallery at the Desa Ukiran Kayu.

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It was eye opening to meet the Master Malay Wood Carver Norhaiza Noordin (norhaizanoordin.wordpress.com). He has used his talents not only for wood carving, but he has created a stunning private art space and a residency for wood carving students that has to be experienced called Bakawali in Kg. Raja, Besut,Terengganu.

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After the visit to the East Coast, we have no doubt that craft and the mastery of craft in Malaysia are alive and well. Now we just need to tell the world about them.  

Galeri Tenun Johor – The Launch and Revival of Weaving Gallery in Johor

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In January this year, we dedicated a blog to Johor’s Kain Tenun Muar and the setting up of a weaving gallery in Johor. 10 months later, in 18 November 2018, Galeri Tenun Johor opened its doors. It is situated within the “Kompleks Warisan Sultan Abu Bakar” (The Heritage Complex of Sultan Abu Bakar) and was launched yesterday by the the  Sultan of Johor, Sultan Ibrahim Almarhum Sultan Iskandar.

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The gallery has revived the historical Rumah Tenun Johor, the first weaving centre that was initiated by Tengku Ampuan Mariam, the eldest daughter of Sultan Abu Bakar in 1946, and administered by Tok Ambak, a prominent figure of the Johor’s women’s association.  The Heritage Complex includes the Johor weaving gallery, an art gallery, a documentation center and a number of cafes serving Johor food.

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The famous “goreng pisang Mawar” or Johor style crispy banana fritters is also situated within this complex. Right across, the historical craft center of JARO, which promotes crafts made by the disabled, is undergoing renovations, and will also be re-opened soon.

Galeri Tenun Johor has been set up not only to display the heritage of Malay textiles and Johor’s history of textiles. More importantly, it aims to revive the weaving heritage in Johor by installing and training new weavers at the center, and it actively promotes innovation in Songket.

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The gallery showcases not only old textiles from the region, but newly woven cloths in the style of Kain Tenun Muar as well as 10 new songket motifs that were designed specifically for Johor.Among them are Songket designed for the royal family of Johor such as Songket Johor Jauhar and Songket Johor Medini Songket Johor Maharani, two types of Songket Tunku Mahkota Johor and Songket Johor Tanjung Puteri.  Other designs were created specially for the people of Johor, using Johor-inspired motifs of flowers, herbs and spices. They are Songket Tenun Johor, Songket Johor Tanjung Piai,  Songket Johor Mayang Selida and Tenun Johor Berbunga Renek.

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The textiles are displayed with interesting information on the motifs. There are also informative panels in the gallery on the history of Malay textiles, the process of producing hand woven textiles using the traditional techniques and the design combinations and inspiration that made up the motifs of Songket Johor.

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The handlooms for different types of textiles as well as accessories, which are usually worn with Malay costumes, are displayed in the upper gallery. A video of Johor Malay dance like zapin with dancers in traditional costumes livened up the gallery, showing how the Malay community wears the traditional textiles in their everyday lives and during special occasions.

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Senijari’s founder, who is also a board member of Think City attended the launch in her capacity as Think City’s director. Think City played a role in assisting with designing and creating a selection of the text and photo displays for the content and descriptions of the exhibitions in the gallery through photography, write ups, informative signage and labeling. Galeri Tenun in collaboration with Think City are expected to create interesting cultural programs at the gallery from next year.

With the revival of this cultural hub, along with the burgeoning heritage area of vintage shops, hipster cafes, art galleries and independent boutiques along the historical Jalan Dhoby and Jalan Wong Ah Fook, Johor Bahru is shaping up to be a creative and cultural city.