Textile Art Research Articles

WARISAN BUDAYA CIREBON: MENGUNGKAP SEJARAH DAN MOTIF BATIK TRUSMI

This article uses a literature study approach to explore in depth the history and motifs attached to Trusmi batik, one of the unique cultural heritages of Cirebon. Using a literature study method, this research details the evolution of Trusmi batik making techniques as well as identifying and analyzing the meaning behind its distinctive motifs. The research results illustrate how this textile art reflects the traditional values and rich culture of Cirebon. The implications of these findings not only provide in-depth insight into Trusmi batik art but also provide a strong basis for efforts to preserve and develop local culture. This article has value as a guide for researchers, artists, and cultural observers who are interested in preserving cultural riches through traditional art, especially in the context of Trusmi batik in Cirebon. We can better appreciate and preserve the uniqueness of Cirebon culture for future generations by studying the background and motifs of Trusmi batik. This cultural heritage shows how well Indonesia has done in cultivating regional customs that influence textile arts and highlights the diversity and resilience of Indonesian culture, both of which should be respected and preserved.

Innovación social para la conservación de prácticas textiles-artesanales basados en gestión de conocimiento y educación intercultural

Social innovation is a strategy for solving problems in community settings that integrates the cooperation of different participants to promote better conditions. This article aims to identify how co-creation practices promote the conservation of artisan textile knowledge through knowledge management and interculturality in social and educational spaces in the municipality of Nobsa - Boyacá, Colombia. In this, a descriptive investigation was privileged, for which there was a population of textile artisans and students of an educational institution of the municipality. The instruments used were the focus group technique and surveys to obtain data related to particular social aspects of the community under study. Social, educational, and business spaces were created using living laboratories that allowed the search for social alternatives to the problems encountered. As a result, a knowledge management model was obtained, based on the Nonaka and Takeuchi (1994) model, which responded to the research objectives, contributing to the reduction of acculturation of textile practices on a local level.

The Efficacy of Seaweed Powder Application for Enhancing Wastewater Quality in the Cepuk Textile Industry of Nusa Penida

Introduction: The traditional textile art of Tenun Cepuk from Nusa Penida is highly valued for its intricate designs and cultural importance. Nevertheless, the environmental predicament posed by the textile industry's wastewater, particularly due to dye-related contamination, is substantial and necessitates sustainable remedies. Seaweed powder shows considerable promise as an adsorbent for addressing dye wastewater issues within the textile sector. An essential aspect of this endeavor is to explore the dynamic relationship between different thicknesses and contact durations, as it is pivotal in optimizing the adsorption capacity and effectiveness of seaweed powder for treating dye wastewater..Method: This research, utilizing an Experimental research design with a Posttest Only Control Group Design, is conducted to evaluate the influence of an intervention on the experimental group as compared to the control group. Euchema cottonii seaweed, sourced from Nusa Penida, is employed as the adsorbent. Different thicknesses of seaweed powder, namely 5 cm, 10 cm, and 15 cm, are added to tanks. Subsequently, wastewater samples from the Cepuk weaving process are introduced into each of the experimental tanks, alongside a control group. The process is allowed to continue for 24 and 72 hours as varying contact durations. The adsorption outcomes are then subjected to analysis, including parameters such as TSS, TDS, BOD5, and COD, at the Panureksa Denpasar Laboratory.Results: The application of seaweed powder as an adsorbent proves to be efficient in decreasing TDS, TSS, BOD5, and COD levels in Cepuk textile dye wastewater. The extent of reduction relies on the thickness of the adsorbent and the duration of contact. Increased thickness of the adsorbent results in a pronounced reduction in TDS, TSS, BOD5, and COD levels, leading to an improvement in the quality of wastewater and a safer environmental impact. Specifically, an adsorbent with a thickness of 15 cm effectively reduces TDS to permissible levels. Extended contact times also lead to a significant decrease in these levels..Conclusion: The application of seaweed powder is a viable method for reducing TDS, TSS, BOD5, and COD levels in textile dye wastewater. The thickness of the adsorbent and the duration of contact play a substantial role in improving the quality of the wastewater.

Eco-print Batik: Eco-Friendly Products of Green Business based on Indigenous Knowledge in Bantul

Indonesia has diversity culture, one of them is batik. One of Indonesian batik is eco-print batik in Bantul, Yogyakarta. It is a type of batik that made by using utilizes natural dyes from leaf, root or stem dyes that are placed on a piece of fabric. Eco-print batik is an eco-friendly product and is based on the potential and local knowledge of the local community. Therefore, the objectives of this research are: (1) to explain the existence of eco-print batik in Bantul, Yogyakarta; (2) to explain the process of making eco-print batik in Bantul that eco-friendly products of green business; (3) to identify and strengthen the concept of eco-friendly products of green business based on indigenous knowledge by the case of eco-print batik in Bantul. The research method is qualitative with an ethnographic approach. The data are collected by participatory observation (directly observing the process of making eco-print batik), in-depth interviews, documentation, and document studies on eco-products, especially eco-print batik. The informant of this research are the eco-print batik crafters. Then, the data are analyzed using the Miles and Huberman interactive model analysis. The results of this research, are: (1) eco-print batik is a technique of applying leaves or flowers on a fabric to produce certain (natural) motifs. It was introduced in Indonesia around 2016 and easily accepted by Indonesian textile crafters because Indonesia has strong roots in the tradition of natural dyeing and textile arts (batik process). In 2018, eco-print is increasingly gaining attention and popularity, especially for one of the batik crafters in Bantul with a workshop space, namely Sogga Batik. (2) The process of making eco-print batik uses several techniques, such as pounding, leaf fermentation, and steaming techniques. From the three techniques, Yanti Sogga in Bantul prefers the steaming technique because the resulting color is strong and long lasting. The process is not too long. Moreover, the materials used (input), the process, the product (output), and marketing method in eco-print batik are very eco-friendly because these concern about environmental sustainability. (3) The concept of eco-friendly products of green business based on indigenous knowledge by the case of eco-print batik in Bantul is being the novelty concept, namely the “indigenous eco-friendly product” by strengthening and combining Sommer’s green business components, ILO’s green business elements, and 3R method (go green concept) with indigenous knowledge perspective.

Art Academy of Latvia Graphic Arts Alumnae Who Established the Principles of Latvian National Textile Art, 1931–1943

In the 1920s and 1930s, Latvian magazines featured original textile compositions by renowned male artists. Through my research of textile compositions of the famous Latvian artist and designer Jūlijs Madernieks, it became apparent that during this period, Latvian magazines also showcased textiles by lesser-known artists, particularly graduates of the Graphic Arts Workshop of the Art Academy of Latvia. Despite the significant role played by graphic artists in the formation and promotion of Latvian national textile art, their contributions remain largely unexplored. This research focuses on the popular women’s magazine Zeltene, which presented numerous original textile designs by Elza Druja, Marija Muceniece, Otomija Freiberga, and Kristine Pāvulina. Another focal point of this study is the state of textile crafts education in the third decade of the 20th century and its role in encouraging women to engage in textile art or crafts. The contributions of women to Latvian textile art during the 1920s and 1930s have not received adequate scholarly attention due to the occupation of Latvia by the Soviet Union and Nazi Germany in the 1940s, as well as subsequent constraints imposed on Latvian art historians by the Soviet regime. This paper marks an initial stage in the development of Latvian textile art history, with a particular emphasis on female textile artists.

AVANT-GARDE RECEPTIONS IN SOVIET MASS TEXTILES OF THE 1930S

The article describes how the basic principles and approaches of the avant-­garde synthetic thought were applied and reinterpreted in the art of mass production textiles in the 1930s. The situation in textile industries in the first revolutionary years is briefly outlined, as well as the reasons that forced both avant-­gardists and government representatives to pay attention to the issue of systematic education of textile artists. This article examines how the textile faculty of Vkhutemas-­Vkhutein became the place of formation of a new type of artist, who fully manifested himself after graduating from the institute in the 1930s. Being authors who possess equally artistic skills, project thinking, knowledge of technical and chemical factors, and capable to solve problems of various nature, they were able to demonstrate the reliability of the program proposed by the pedagogues of the main avant-­garde school for the textile art industry. Despite the obvious difference between the drawings for fabrics of the avant-­garde period and the subsequent decade, the continuity of the educational approach is common, which demonstrated itself at the moment of the turning point of aesthetic and ideological ideas. Lia Raitzer, Vera Lotonina, Daria Preobrazhenia, Maria Anufrieva, Dina Lekhtman-­Zaslavskaya, Maria Shuikina and other students of the formal method showed how knowledge of propaedeutics and synthetic interdisciplinary thinking helped them to adapt to the new aesthetic, ideological and industrial aspects and at the same time contain their signature handwriting.

Käsikirjaliste mustrivihikute tähtsus kangakudumise mustrite levimise ajaloos / The historical importance of weaving pattern books

The late 19th century can be considered a transformative period in the history of Estonian textile weaving, during which the weaving of art fabrics onso-called Finnish looms became increasingly widespread. From this period onwards, an increasing amount of Estonian women started to study weaving in Finland, and Finnish women were invited to Estonia to teach.
 The article describes, based on various surviving sources, the spread of weaving patterns in Estonia and the functioning of various weaving courses and schools during this time period. It also provides an overview of the weaving pattern books, which were prevalent in Estonia until the first decades of the 20th century, based on samples preserved in museums and private collections.
 Pattern looms, also known as countermarch looms, Finnish looms, and sometimes also “artisan weavers’ looms”, were expensive and seemed complicated to an average weaver. Therefore, by the end of the 19th century, these types of looms were not yet widely prevalent in Estonian peasant households. They only started to become common during the early years of the independent Republic of Estonia, and it was soon a matter of honor to have Finnish looms in the house.
 With the establishment of weaving schools and the spread of various courses in the late 19th century, new patterns from Europe reached Estonian households. Countermarch looms that arrived via Finland offered more opportunities for weaving different textile surfaces. Also, it was possible to weave wider fabrics on these looms compared to simple looms that had been used in farmsteads earlier.
 The development of weaving pattern books and textbooks in time shows how the spread of more complex looms into homes went hand in hand with the emergence and popularity of women’s handicraft schools. The industrial revolution that altered the previously established modes of production from the end of the 18th century to the beginning of the 19th century did bring more affordable factory products to homes. The national awakening in turn created a situation where the promotion of handicrafts was back on the social agenda.
 The industrial revolution, new trade relations, and the intensification of cultural exchange with neighbouring countries provided Estonian women with the opportunity to improve their position in society. From the beginning of the 20th century, cultural and educational interactions that had begun at the end of the previous century between educated and progressive women and women’s organisations became even more frequent.
 Keywords: weaving on loom, women’s crafts, housekeeping education, weaving pattern books, textile artisans

Interpretations of Sumbanese Ikat by Instagram Influencers

Ikat Sumba is considered a noble Indonesian traditional textile art because the process of making it is very long, and the motifs are very distinctive with local geographical indications. Influencers create various activities with Sumba cloth by posting feeds on Instagram social media. The impression of fashion affairs on Instagram attracts influencers, brand products, and Instagram users. This research analyses six digital influencers on Instagram as actors who engage with Ikat Sumba. Digital influencers with different backgrounds and characters certainly bring different points of view through pictures and captions on their Instagram accounts about these cultural artifacts. Instagram feeds and captions from Ikat Sumba influencers who produce texts, distribute, and respond will create different interpretations of Ikat Sumba. This research uses descriptive qualitative methods and was analysed in more depth using Norman Fairclough's discourse analysis and supported data by network analysis using ACNA. The findings in this research reveal that Ikat Sumba is a traditional Indonesian fabric art that is not only valuable but also represents love, clothing, and the local community in Indonesia. The interpretation to market the product should present the precious values of Sumbanese ikat as a noble craft that explores narratives of love, clothes, and people instead of showing specific physical details of the textile. Social media influencers influence the creation of interpretations of traditional works of art. This could be the future of Sumba Weaving related contents in Instagram with an informative and attractive appearance to increase the value of Sumba Weaving so that it is more widely known and influence marketing efforts. Keywords: Instagram’s influencer, Interpretation, Traditional Textile Art, Network Analysis, Sumbanese Ikat.

The Aesthetics of Lumia Art in Contemporary Textile Arts, An Analytical Study

The research (The Aesthetics of Lumia Art in Contemporary Textile Arts: An Analytical Study) included four chapters, the first to explain the research problem summarized by the question: Does the art of Lumia achieve aesthetic values in contemporary textile arts?, and aims to: Identify the aesthetics of Lumia art and its applied uses in contemporary textile arts, within the time period (2013-2022). The third chapter included: research procedures and sample analysis (4) models according to the descriptive analytical approach, and the fourth chapter dealt with: results, conclusions and recommendations as well as sources.

Eco-print Batik: Eco-Friendly Products of Green Business based on Indigenous Knowledge in Bantul

Indonesia has diversity culture, one of them is batik. One of Indonesian batik is eco-print batik in Bantul, Yogyakarta. It is a type of batik that made by using utilizes natural dyes from leaf, root or stem dyes that are placed on a piece of fabric. Eco-print batik is an eco-friendly product and is based on the potential and local knowledge of the local community. Therefore, the objectives of this research are: (1) to explain the existence of eco-print batik in Bantul, Yogyakarta; (2) to explain the process of making eco-print batik in Bantul that eco-friendly products of green business; (3) to identify and strengthen the concept of eco-friendly products of green business based on indigenous knowledge by the case of eco-print batik in Bantul. The research method is qualitative with an ethnographic approach. The data are collected by participatory observation (directly observing the process of making eco-print batik), in-depth interviews, documentation, and document studies on eco-products, especially eco-print batik. The informant of this research are the eco-print batik crafters. Then, the data are analyzed using the Miles and Huberman interactive model analysis. The results of this research, are: (1) eco-print batik is a technique of applying leaves or flowers on a fabric to produce certain (natural) motifs. It was introduced in Indonesia around 2016 and easily accepted by Indonesian textile crafters because Indonesia has strong roots in the tradition of natural dyeing and textile arts (batik process). In 2018, eco-print is increasingly gaining attention and popularity, especially for one of the batik crafters in Bantul with a workshop space, namely Sogga Batik. (2) The process of making eco-print batik uses several techniques, such as pounding, leaf fermentation, and steaming techniques. From the three techniques, Yanti Sogga in Bantul prefers the steaming technique because the resulting color is strong and long lasting. The process is not too long. Moreover, the materials used (input), the process, the product (output), and marketing method in eco-print batik are very eco-friendly because these concern about environmental sustainability. (3) The concept of eco-friendly products of green business based on indigenous knowledge by the case of eco-print batik in Bantul is being the novelty concept, namely the “indigenous eco-friendly product” by strengthening and combining Sommer’s green business components, ILO’s green business elements, and 3R method (go green concept) with indigenous knowledge perspective.

The effectiveness of using coconut husk powder as an adsorbent to enhance the wastewater quality of the cepuk textile industry in Nusa Penida, Bali, Indonesia

Introduction: Tenun Cepuk (traditional woven) from Nusa Penida holds great potential as a traditional textile art form, cherished for its intricate patterns and cultural significance. However, the textile industry's wastewater, with its dye-related pollution, presents a significant environmental challenge that needs sustainable solutions. Coconut husk powder exhibits promising potential as an adsorbent for treating dye wastewater from the textile industry. Investigating the interplay between varying thicknesses and contact durations is crucial to maximizing coconut husk powder's adsorption capacity and efficiency for dye wastewater treatment. Method: This study, following an Experimental research design with a Posttest Only Control Group Design, aims to assess the impact of an intervention on the experimental group compared to the control group. Coconut fibers, sourced from Nusa Penida agriculture, serve as the adsorbent. Coconut powder is added to these tanks at thicknesses of 5 cm, 10 cm, and 15 cm. Subsequently, wastewater samples from the Cepuk weaving process are introduced into each experimental tank, along with a control group. The process is left for 24 and 72 hours as varying contact times. The adsorption results are subjected to analysis for parameters, including total suspended solids (TSS), total dissolved solids (TDS), five-day biochemical oxygen demand (BOD5), and chemical oxygen demand (COD) at the Panureksa Denpasar Laboratory. Results: The use of coconut husk powder as an adsorbent effectively lowers TDS, TSS, BOD5, and COD in Cepuk textile dye wastewater. The reduction depends on adsorbent thickness and contact time. Thicker adsorbents notably reduce TDS, TSS, BOD5, and COD, enhancing wastewater quality and environmental safety. A 15 cm-thick adsorbent effectively reduces TDS to permissible levels. Prolonged contact times also significantly lower levels. Conclusion: Coconut husk powder can be utilized to decrease TDS, TSS, BOD5, and COD levels in textile dye wastewater. Thickness and contact time significantly impact the enhancement of wastewater quality.

Weaving in the Threads

Weaving in the Threads

Ghost-Stitching American Politics

Ghost-Stitching American Politics

Spinning Circle at the Mill

Spinning Circle at the Mill

Cultural Studies and Symbolism of Tapis Cloth Motifs in the Culture of Lampung People

The traditional textile art in Lampung, Indonesia, holds significant cultural significance and is imbued with intricate symbolism. The images found on Tapis cloth not only showcase aesthetic appeal but also encompass profound cultural teachings, spiritual values, and symbolism that profoundly influence the lives of the Lampung people. Tapis cloth patterns embody diverse cultural elements such as mythology, spiritual convictions, a symbiotic connection with the environment, ethnic heritage, equilibrium, safeguarding, and the pursuit of prosperity. Tapis fabric serves as a means of conveying ancient narratives, commemorating cultural legacies, and preserving unique cultural individuality.

Manifesting Rights on Cloth: Regalia and Relations on the Northwest Coast

Using buttons and beads sewn on wool and calico, Northwest Coast First Nations women fashion the robes and aprons essential to ongoing expressions of inherited prerogatives and rights. Each piece of regalia is carefully crafted to include signifying materials and motifs, telling of the origins or relations of their owners. These creations exist as part of a holistic system that integrates material artworks within ceremony, including song, dance, and oratory, which in turn uphold the laws expressed through potlatching. Shifting scholarly focus from Northwest Coast carving traditions, this paper recenters textile arts within a holistic, culturally focused context while addressing issues of gender, the effects of colonial practices, and the damage wrought by salvage anthropology as it fragmented cultural information across archives. Women’s artistic productions embody long-held technical and aesthetic knowledge connected to oral histories and cultural practices. Restoring Indigenous perspectives connecting tangible and intangible cultural heritage counterbalances the aesthetic emphasis that has dominated Northwest Coast art history.

Cancer incidence among visual artists: 45 years of follow-up in four Nordic countries

Introduction Professional visual artists constitute a heterogeneous vocational group, including, but not limited to painters, photographers, textile artists, and sculptors who may face exposure to workplace hazardous substances and lifestyle factors that may contribute to the development of selected cancers. The objective of this registry-based cohort study was to assess the cancer incidence among Nordic visual artists. Materials and methods This study is based on data from the Nordic Occupational Cancer (NOCCA) project that combines census data of 15 million people from all Nordic countries and cancer registries from 1961 to 2005. For the present study we selected a cohort of visual artists from Finland, Iceland, Norway, and Sweden. Standardized incidence ratio (SIR) analyses were conducted with the cancer incidence rates for the entire national study populations used as reference rates. Results In male visual artists, there were statistically significant excesses in cancers of the tongue (SIR 2.91, 95% confidence interval 1.74–4.55), oral cavity (2.09, 1.26–3.27), pharynx (2.18, 1.45-–3.15), testis (1.91, 1.11–3.05), renal pelvis (2.48, 1.42–4.03) and bladder (1.33, 1.14–1.55). The risk was significantly decreased for cancers of the lip (0.45, 0.18-0.93) and stomach (0.65, 0.50–0.84). In female visual artists, the only significantly increased risk was observed for breast cancer (1.29, 1.13–1.48) and the only significantly decreased risk for stomach cancer (0.43, 0.17–0.88). The incidence of lung cancer was close to the population average in both sexes. Conclusions The non-elevated incidence of lung cancer suggests a similar prevalence of smoking between visual artists and the general population, while the elevated risk of cancers of mouth and pharynx among male visual artists is suggestive of more widespread alcohol drinking. The excess risk of urogenital cancers might be associated with exposure to solvents.

Caring to Notice: Sera Waters’ Disentangled Pasts, Attentive Reparation and Truth-Telling Toward Survivable Futures

This essay engages with activist artistic practice of Sera Waters, an Adelaide-based Australian textile artist. Waters unstitches deep histories in an attempt to repair what was broken by settler colonialism to foster “familiar activism,” truth-telling and attentive noticing to the interface of social and environmental justice. Her latest visual arts project Future Traditions (2020–ongoing) explores, via textile and craft practice, the potential in unravelling and redirecting domestic traditions, and disturbing their colonial legacies. Thinking with Waters, I coimagine alternative survivable futures to open up the possibility of an ethical future that acknowledges the responsibility and response-ability, via processes of witnessing and noticing, to mobilize an attentive, reparative and communal relationship to difference. Within the overarching framework of ethics of care the essay focuses on Waters’s engagement with the notions of ghosts and colonial knots that have led to her recent project concerned with the future of tradition building. It contemplates her conceptualization of needlework sampling as a method and a strategy applied in the face of exacerbating ecological crisis to foster interconnectedness despite colonial, neoliberalist and capitalist failings.

Sustaining traditional textile art among the Indigenous Nongtluh women of north-eastern India: An interpretative phenomenological analysis

Indigenous textile artisans have, for centuries, maintained traditional methods of textile making that is central to their livelihood and cultural identity. However, the increasing commodification of indigenous textiles around the world has threatened the preservation of traditional, eco-friendly methods of textile production, making it imperative to learn how indigenous groups that have successfully sustained their traditional textile art, have done so. This ethnographic study peers through the lens of indigenous Nongtluh women textile artisans belonging to the Ri-Bhoi district in the state of Meghalaya in the north-eastern region of India, with the aim of understanding how their traditional textile art has been sustained. An interpretative phenomenological analysis (IPA) of in-depth interview, focus group, field observation and photographic data uncovered two overarching themes that represented internal and external factors that have contributed to the sustenance of the Nongtluh women’s traditional textile art. Internal factors signified the artisans’ deep love for their textile art through inheritance, passion, ingenuity and pride. External factors revealed the role of government, economic prospect and convenience in the sustenance of the traditional textile art in this region. An interpretive framework is presented, representing these factors through the tree of sustenance. Implications and limitations are discussed.

Media Pembelajaran Interaktif “Batik Pedia” Berbasis Aplikasi Android Pada Ensiklopedia Batik Nusantara

Batik is a traditional textile art form originating from Java, Indonesia. This involves using wax to design patterns on cloth, which are then dyed to create the effect of many colors. The batik process involves several steps including waxing, dipping and boiling the cloth to remove the wax. Batik has a long history in Indonesia and is an important part of the country's cultural heritage. It is often used to make decorative fabrics such as clothing and tablecloths. Batik has grown in popularity around the world in recent years, with many designers incorporating this technique into their collections. Batik is a comprehensive resource on the history and techniques of Batik, Indonesia's traditional textile art. This encyclopedia provides structured information about the origins and cultural significance of batik, and how batik has developed over time. Some of the topics discussed in this Batik Encyclopedia include the history of batik, batik patterns and designs, the manufacturing process, and the tools used to make batik, as well as fun and certainly interesting quizzes. In this study, the authors used a qualitative descriptive approach and an IMSDD development method which would later be implemented into an Android-based application using Microsoft PowerPoint, Ispring Suite, and the APK 2 website builder. With the interactive application "Batik Pedia", the authors hope that later it can provide educational tools to its users about the diversity of batik motifs in Indonesia. So that batik will continue to grow and be recognized as one of Indonesia's wealthy heritage.