The Batik Block Artisan

 

PHOTO-2020-07-16-16-25-23

We often hear of batiks in Malaysia and imagine them to be hand drawn through the canting technique. In Malaysia, hand made batik designs are drawn on the fabric with hot liquid wax by using a metal object called “canting” – it is like a small receptacle that pours out hot wax in small lines instead of paint.

When the wax outlines are done, artists use brushes to paint the dyes within the outlines. The use of brush allows for the creation of shaded and multi-hued designs.

Batik block printing however requires a different skill even though it is still hand made batik. The rhythmic patterns of a batik block can create outstanding batiks – and the art of making a batik block is a skill on its own. Batik block makers are artisans themselves, and often specialize in making batik blocks and not the same artisans who design and make batik textiles.

PHOTO-2020-07-16-16-25-27

A batik block maker, Abdul Ghani Mat was awarded a title of Master Artisan by Kraftangan Malaysia for his creative and highly skilful work in hand tooling copper batik blocks. In our previous blog, we had mentioned that the owner of Ayu Batik in Kelantan has a collection of over 5000 batik blocks dating over several decades, which form an important archive of the creative history of Malaysian batik patterns.

In a block print batik, the canting tool is replaced by a hand tooled copper block that is designed with the patterns or motifs that will be repeated on the cloth to create a piece of batik. Sometimes a wooden stamp is used that has a carved patterned bottom.

PHOTO-2020-07-16-16-25-26

The block is dipped into the wax and printed onto the fabric, which is then dip-dyed. Then the wax will be removed and batik with single color is produced. To create multi-colors and complex batik, waxing with different blocks, dying and de-waxing have to be done many times.

PHOTO-2020-07-16-16-25-25 (1)

In Kelantan, the heart of the Malaysian batik industry, we visited a batik block workshop. We were pleasantly surprised to see three industrious young men including the owner, creating intricate copper batik blocks for batik artists and designers in Malaysia. The owner started his own batik block making business after being trained as a block batik artisan himself. The workshop was strategically located in an area with clusters of batik workshops and ateliers including Ruzz Gahara.

According to the enterprising young man, he noticed a constant demand for batik blocks from batik artisans and designers. He decided to open a small workshop of his own and started training batik block makers amongst the youths in the village who were interested. His workshop is a simple hut shaded under a few trees, next to a narrow dirt lane that was a bit too small for a car to go through. The hut was nestled in a small village, tucked away from the main road, the idyllic silence around them only broken once in a while with the sounds of children playing in the neighborhood or stray chickens looking for food.

 

The making of batik blocks requires as much concentration as making the batiks themselves. Using blow torches and a myriad of hand tools, the batik block “boys” painstakingly cut, bend and meld small parts of copper that gradually expand to resemble the full picture of patterns and motifs provided by artists for customized block prints.PHOTO-2020-07-16-16-25-25

Depending on the intricacy of the motifs, one batik block can take up a few days to a few weeks to make and the cost will also depend on the motifs. The batik block young artisans looked up briefly from their work when we went in before focusing once again on bits of copper on their tables. They looked like any teenagers on the streets, wearing sneakers, jeans and t-shirts – we would not have guessed that they were traditional artisans if we had bumped into them outside the workshop. We asked one of them when he had started making batik blocks, he told us he was 16 when he started. For them, continuing the tradition was a way of life in the village.

 

Suryani Senja

Kite Making and the Wau Maker from Kelantan

52dba0a4-93b9-456f-a140-84bf680597e9

Did you know that there are many types of traditional kites in Malaysia? The famous “Wau” or traditional kites are mostly made in and associated with Kelantan. The kites are made of split bamboo and coloured paper with tassels and strings. The art of making kites is not easy. The kites need to be of a certain composition, structure and weight, and made of specific materials so they can fly well. The span of a wau can go up to 12 feet from nose to tail, yet it can still fly well. Wau Bulan, the traditional, crescent moon shaped kite from Kelantan is well known for its ability to be stable and fly well.

ccee57c6-78ba-434a-b406-c408e5e20209

The artistic element of a wau, or its beauty is as important as its function. The images on a wau and its shape reflect its origins and surrounding, whilst the coloured papers of a wau are meticulously cut and pasted together in multi-layers to create a sense of harmony in colours and reflect the light as a wau flies in the sky. Often, a wau competition awards points for both its beauty when it is on the ground, and its function when it is flying in the sky.

The name “Wau” apparently came from the Arabic letter, which resembles the shape of the kite. However, it is also said that the name Wau comes from the sound the kite makes – a low droning repetitive sound from the string when it is moved from side to side or when it moves in the wind.

In Malaysia, the kites have been in use for centuries. Farmers have been known to use the kites as scarecrows in the paddy fields as well as to lull their babies to sleep with the repetitive, droning sounds. The legendary Wau Bulan apparently was created during the Srivijaya Empire (from as early as the 7th century). According to the legend, a young prince Dewa Muda used the framework of the kite to map territories that he will then conquer and later illustrate on the map. As his territories grow, the kite illustrations will too.

Other types of Wau include “Wau Dodo Helang”, “Wau Kebayak”, “Wau Daun”, “Wau Kikik”, “Wau Merak”, “Wau Puyuh”, “Wau Kapal”, “Wau Seri Bulan”, “Wau Helang”, “Wau Kangkang”, and the “Wau Seri Negeri”. Although beauty is important, to the Wau enthusiast, the most important factor to determine a good wau is actually the sound or ‘dengung’ that resonates from the Wau when it is high up in the air flying against the strong winds.

The art of making kites is still alive in Malaysia, though less people play kites as a past time or grow up flying kites compared to before. If we stop to think, the traditional wau has entered our visual vocabulary for a long time. MAS airline uses the Wau as a brand image. The iconic shape of “Wau Kucing” appears on the tail of each plane of Malaysia’s national airline. Pak Sapie, the late master wau maker from Kelantan was prominently featured in a Visit Malaysia Year poster. The popular Johor International Kite Festival is a highlight every year for Malaysians and tourists.

b06ac011-46f2-4844-8383-6229262e4856

We visited a Wau maker recently in Kelantan – the wau maker inherited his special skills from his father, who was a famous Adiguru or master Wau Maker, none other than Pak Sapie.  Pak Sapie was a master kite-maker who innovated a way to make foldable kites so that they can be collapsed into smaller pieces for better transport.

062ce3de-264f-48d6-a3a5-0c6a36acb633

The wau maker now makes kites to order from his workshop along Pantai Cahaya Bulan in Kelantan. He makes a wide variety of traditional kites by hand. He works with his wife, who designs the kites. Although the demand for kites has lessened, some of his biggest customers come from Johor or people who want to compete and participate in the Johor International Kite Festival every year.

54679b24-da67-4730-9f7e-55af137e5534

People also order kites for ornaments and souvenirs. He laments that not many young people play with kites anymore although he still gets students to come to his workshop to make, then go out to the beach or nearby open spaces to play kites. The thought of getting more young people being interested in the art of making and playing kites brings a big smile to his face: “Our tradition is important, and must not be lost. The young people must carry on our tradition for us, that is why I am still making kites”.

 

The Remaking of a National Craft Retail Space

karyaneka-souvenirs-malaysia

Karyaneka’s look before the remodelling

92178ee7-5e54-4143-a4b6-723dba57617e (1)

What makes a craft retail space attractive to a customer? What do people look for when they want to buy crafts? How can we tell the story of crafts in a shop? What can a national craft retail store offer that no other store can offer? These are some of the questions that went through my mind when re-thinking the concept of the national craft retail store, Karyaneka.

Karyaneka is the retail arm of Kraftangan Malaysia, the national handicraft development corporation of Malaysia. Karyaneka is tasked with promoting and marketing our local artisans and their crafts through its retail outlets. There are four major craft complexes in the country namely in KL, Langkawi, Melaka and Johor whilst other smaller outlets are in selective airports and other cities.

 

Every year during National Craft Day, hundreds of artisans from all over Malaysia set up booths at Kompleks Kraf KL, at Jalan Conlay, KL, which is where Kraftangan Malaysia is headquartered and Karyaneka flagship store is located . This year was supposed to be a special National Craft Day as it is Visit Malaysia Year 2020. Karyaneka was asked to present a special display of craft for visitors. It was an opportunity to refresh Karyaneka’s flagship store.

Branding Craft – What is in a Name?

IMG_7283

I spent some time with Karyaneka team, designer Imaya Wong  to brainstorm and re-conceptualise Karyaneka as brand that is strong on the heritage of crafts but contemporary in display and presentation.

IMG_7281

I felt in our discussions that Karyaneka had very strong elements residing within its own name: “Karya” could represent artistic creations of crafts by highly skilled artisans with high artistic value;  “Aneka” could represent the diversity of Malaysian crafts and how versatile Malaysian crafts from a variety of natural materials can be used in our everyday life. Finally “Neka” could represent designer crafts that have evolved from traditional crafts through the language of contemporary designs.

IMG_7282

Storytelling Craft

What would be unique about Karyaneka that you could not get anywhere else? I strongly felt that as a national craft retail store, Karyaneka could offer uniquely featured products by virtue of access to master crafts persons and artisan communities from all over Malaysia including from remote parts of the country.

ae113aaf-58ac-4847-9bd8-7232aaecd158

 

Malaysia’s heritage and knowledge of crafts are being kept alive by our unique Adigurus, a selection of master craftspersons from all over Malaysia who have been awarded the title “Adiguru” by Kraftangan to acknowledge their superior craftsmanship.

08bc524f-b0a5-4f67-807f-69e3b53d24b1

In addition, Kraftangan’s artisan community outreach is far and wide – they have access to almost 6000 artisans and artisan entrepreneurs including in rural and remote areas.

 

With these elements in mind, the design team re-conceptualized a dedicated space in Karyaneka in time for National Craft Day. The newly designed space created sections based on Karya, Aneka and Neka. To distinguish Karyaneka from the ordinary craft stores, we created a special mini exhibition space displaying a selection of Adiguru crafts, highlighting the personal story of each Adiguru.

Storytelling is vital for the national craft retail store as people still have a relatively low level of awareness on Malaysian crafts. An engagement with customers through storytelling often brings about a higher level of awareness and a real appreciation of the value of crafts. With this in mind, the visitors to the new Karyaneka section was greeted by a write up on the introduction to Malaysian crafts, the Adiguru exhibition write ups and each section of Karyaneka had descriptions of crafts and the featured craft brands.

 

The story of Malaysian craft continues in the Neka section with a crop of new designers who have used a different design language to interpret traditional crafts – these stories need to be told. We featured craft designs by Bendang Studio, Studio Bikin, Batik Tektura, Tanoti House, Ruzz Gahara, Dapo and Muni amongst others to showcase how Malaysian designers are paving the way for traditional crafts to evolve into innovative design items.

 

a1528dd6-7705-465f-8c26-9d7586b3c153

954240ac-490c-40b7-8e29-02520ce3f577

9c62a6ef-596c-42c6-97df-53bc1a981999

Craft, Architecture and Technology

In addition, the two latest initiatives by Kraftangan Malaysia to document and highlight Malaysian crafts internationally were displayed in Karyaneka. These initiatives highlight the important role with Kraftangan and Karyaneka of championing and bringing Malaysian crafts to the world. The following projects also indicate how craft can firmly be part of and enrich the Malaysian creative industry ecosystem.IMG_7284

First, the Google Arts & Culture Project became a reality when Kraftangan Malaysia became the first cultural institution in Malaysia to be Google’s partner. On 20th February 2020, the first 100 craft images of Malaysia were uploaded on Google online museum, creating the first global footprint of Malaysian crafts online. This means that Malaysian crafts are now accessible for study, research, reference and inspiration for the global online community.

5956956b-6430-42ae-8b96-3be3af57abd3

The second project involved collaboration between craft, architecture and digital technology for a biennale in Hong Kong. An installation made of hand woven traditional mats by artisans in Terengganu was designed and built to display as an architecture pavilion.

f66cae04-2b52-49ac-a56e-685489edd2f0

The mats included a QR code woven into the mats as motifs that would enable the international audience to scan and discover the story of Malaysian weavers through a website. This pavilion called “Woven Matness” was displayed at the “2019 Bi-City Biennale of Urbanism/Architecture” in Hong Kong from December 2019. Malaysian architect Shin Tseng and his creative partners, Digital Creative Director Fadil Fuad of C27 and Designer Wen Yee Kok of Studio Wen teamed up with Kraftangan Malaysia who sourced the traditional colorful “Daun Mengkuang” (screw pine leaves) mats from artisans in the east coast state of Terengganu, Malaysia. Fadil designed the QR code that would be woven into plain, natural colored mats.

3c9ad742-7430-43e1-9095-675c6170ecd9

The images of the exhibition in Hong Kong and the creative process for the design of the pavilion were put up on National Craft Day and remains to be exhibited in Karyaneka.

Craft is Instagrammable

IMG_7280

Finally, in the age of social media, what would attract crowds to engage in a craft store? Instagrammable spaces of course! Imaya designed a few areas in Karyaneka that highlight craft products as Instagram friendly shots.

9e6069ab-cf20-446a-b000-088dd593e760

These “instagrammable” spaces became a big hit during National Craft Day especially the ones featuring Ranee Artisan’s colourful basket trays made of recycled standing fan covers and hand woven by Long House communities in Sarawak, pop and techno colored mats on various walls woven by Bajau Laut communities on islands in Sabah and an area of hanging baskets that came from all over Malaysia.

Re-thinking Craft Retail Space

Although we still have a long way to go to revive Malaysian crafts and make our artisans known nationally and internationally, the re-making of Karyaneka retail space opened up the space for re-thinking, re-learning and representing our crafts.  Malaysians and non-Malaysians are starting to engage with our national, living heritage of crafts differently, simply because we made an effort by telling the story of craft through the new mediums of art, design and technology.

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

 

13929a27-b16f-40c9-a0ca-9927237e8fbd

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.

64b1bda9-a1dd-4c8d-a8a8-d05940cf34c3

23734ce5-8ee8-4df6-8e0d-6c9ef948fdbd

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.

4b33a52c-4eb4-4261-b2c1-117510c0741f

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.

f9628b88-3caa-400f-a12f-2e157c6b8112

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.

05e0dd6b-868c-44e7-ba93-893e08768545

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.

fed218df-bff3-412e-9bd9-4305bf499d63

8814316d-0857-4b5d-a850-a80fd498991c (1)

8e74d624-c291-408d-ac47-49c8d67f67d1 (1)

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.

dbb8980e-a94d-4380-853a-49a61742e72f

e36333c3-17bb-4861-93d5-b411d3235db6

9b3d40b3-3a03-4c24-9e52-8d29453a66a4

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.

 

 

 

East Coast of Malaysia : The Cultural and Craft Hub

47505f91-b769-40c7-a1df-a002805806c4

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.

24d3bc09-6254-4c23-baee-a05d1ec51eaf

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.

09875b90-f508-453e-95b3-7130146818b5 (1)

8b57188b-91b0-4623-8520-c9da64b61caa (1)

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.

e0cdef2f-3072-4ba0-a51a-fbc17619dc47 (1)

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.

1774ca11-4e35-49d9-884c-3e001dc7610b (1)

1747a4ba-c2d9-4529-ac4c-2174e68dba1e

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.

9452d6ea-958c-4ca8-a174-66338b1ca7df

7d582b08-c20e-40ac-a589-b7fd7b098e77

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.

 

3fb7df99-87ba-40a2-bb1d-9b48b1846ca9

f619c842-4471-42a1-a2bf-21a963a99d9e

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.

3b7668c3-c55f-49ff-bac8-e77eaa81503d

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.

          56267c8f-8f35-43d5-837b-df99f002a630

50c1ab4d-a75b-4daa-b437-485d6538bdaf

022f5a39-ab61-460e-86c4-9796a0100dd9

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.

d7a495e7-bb9b-459e-b251-15e183520322

15591993-d4bb-4b78-840c-d0a1c3822b49

b155bbc1-9cf3-4444-a951-c21182023ea1

9241fef2-f6e0-4350-ad44-ea76ddda2ec6 (1)

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

3b5760e6-41d8-4d50-866f-51c74633c729

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.

7389c223-c717-4071-89cb-7dce3e356dd0

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.

f05f6ade-f524-4a26-a0f9-32bee93e95f3

fed94e25-1cb5-4ca6-9259-6383f5cf3fad

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.

bf04f98f-df6b-4094-9925-be121a7f4aec

6c4e6eef-e5ee-44b5-a435-2cfebac30f50 (1)

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.

8191950d-4a82-4efa-b9c5-5e168ea7365a

1ecae369-2d88-444b-a8e3-b663d1b5f829

996bb552-7860-4a82-9e8d-b97f4d14657b

1c1c3a54-a8cb-44f4-b532-4ddeb6934934

9ce6d5d5-3138-4305-a6e8-c03b155ea3e4

 

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.

a6702237-d1a6-4f5d-8730-5f0c043b2605

931653de-6681-4427-8027-e02515114990 (1)

 

 

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.

0a30e28a-3f8f-4717-86d8-8f9ac9f5513f

956e3e83-d4ab-4880-86dd-d41ebddc8258

 

 

 

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.