By Brigitta Hauser-Schaublin, Marie-Louise Nabholz-Kartaschoff, Urs Ramseyer
Originally released in 1991, in organization with the Museum der Kulturen, Basel.
This electronic version released 2012
In this fantastically illustrated e-book, 3 specialists study the historical past, creation and makes use of of textiles in Balinese society. Many positive items are provided, their uncooked fabrics and techniques of weaving and dyeing are defined, and the complicated symbolism and formality services of every are defined intimately.
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Additional resources for Balinese Textiles
One of her jobs is also to fetch water (although the eldest daughter sometimes does this for her). m. she works at the ATBM, and then sees to her housework, goes shopping and prepares the midday meal. m. she returns to the loom for another two hours, after which she must once again tend to domestic chores. m. to weave songket. The aim of this work, she tells us, is to obtain some (relative) freedom for herself. She wants to earn enough money to buy yarn and gold threads for work which she elects, so that she will not be under the pressure of total dependance upon an employer—at least not in this field.
Prices have a marked tendency to plummet, and sales are dependent on the vagaries of fashion. The manufactory's production figures for 1988, for example, are only half what they were in 1983. The owner has been able to ride out the crisis by introducing new designs, particularly motifs from old Balinese and east Indonesian cloths. More recently, brightly-colored red checked fabrics without endek have been particularly successful on the market. Thus, the entrepreneur has prospered. With no land of his own to begin with, he has been able to buy rice and vegetable fields over the course of the years, and to employ others to farm them for him.
REGIONAL S O N G K E T STYLES As is the case with endek cloths, various historical linkages among the former Balinese principalities make it difficult for us today to clearly distinguish regional styles of songket. This is especially true since the earliest extant specimens are scarcely more than a hundred years old. The dividing lines are extremely fluid, as transpositions of particular styles 45 SONGK^T across regional boundaries by way of feudal and family connections have been the rule. In conversations with older ksatria women of Buleleng, Klungkung, Karangasem and Tabanan—undoubtedly the most knowledgeable sources on this subject—one and the same songket is often assigned a variety of origins.