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wtf-fun-factss:

World Leaders Facts -  WTF fun facts

I want to see the source…… and Le Prez has been known as a person who doesn’t bow down to great powers easily.

wtf-fun-factss:

World Leaders Facts -  WTF fun facts

I want to see the source…

… and Le Prez has been known as a person who doesn’t bow down to great powers easily.

568 notes9.1812:36 PM • Source: wtffunfact.com
hms-surprise:

Batavia was a ship of the Dutch East India Company (VOC).It was built in Amsterdam in 1628, and armed with 24cast-iron cannons and a number of bronze guns. Batavia was shipwrecked on her maiden voyage, and was made famous by the subsequent mutiny and massacre that took place among the survivors. A twentieth-century replica of the ship is also called the Batavia and can be visited in Lelystad, Netherlands. (wiki)

hms-surprise:

Batavia was a ship of the Dutch East India Company (VOC).It was built in Amsterdam in 1628, and armed with 24cast-iron cannons and a number of bronze guns. Batavia was shipwrecked on her maiden voyage, and was made famous by the subsequent mutiny and massacre that took place among the survivors. A twentieth-century replica of the ship is also called the Batavia and can be visited in Lelystad, Netherlands. (wiki)

708 notes9.112:47 AM • Source: hms-surprise
#maritime history #dutch east indies #history
mapsontheweb:

Countries lived in/visited by Che Guevara in red. Nations where he engaged in armed revolution are green.

mapsontheweb:

Countries lived in/visited by Che Guevara in red. Nations where he engaged in armed revolution are green.

196 notes8.305:48 AM • Source: mapsontheweb
#cartography
travelingcolors:

Underground Mosque, Yogyakarta | Indonesia (by Carten Nulagraha)

This mosque is a part of the Tamansari Water Castle complex. Built in 1765, it was said that the mosque was a legacy of Sultan Hamengkubuwana I.
The mosque consists of two storeys and can function as an underground bunker, which explains why the walls are made thick. [x]

travelingcolors:

Underground Mosque, Yogyakarta | Indonesia (by Carten Nulagraha)

This mosque is a part of the Tamansari Water Castle complex. Built in 1765, it was said that the mosque was a legacy of Sultan Hamengkubuwana I.

The mosque consists of two storeys and can function as an underground bunker, which explains why the walls are made thick. [x]

1,650 notes8.291:28 AM • Source: 500px.com
#architecture #yogyakarta #indonesia

Bahkan Keroncong pun Pernah Muda dan Romantis

arissetyawan:

Keroncong Gema Lansia

Tugas Mata kuliah Filsafat 2/Estetika Musik. Juga dimuat di JakartaBeat 6 Desember 2011. http://jakartabeat.net/musik/kanal-musik/ulasan/696-bahkan-keroncong-pun-pernah-muda-dan-romantis-.html )

Rumah itu terletak disebuah gang kecil di wilayah Bausastran, Jl. Gayam, Baciro, Yogyakarta. Minggu siang itu gerimis

turun mengguyur kota Jogja, dan di antara rintik hujan yang kian deras, dari rumah itu tetap mengalun musik mendayu dan merdu, karena musik itu memang selalu mengalun tiap Minggu dan terus diupayakan agar tetap mengalun setiap minggu. Minggu adalah jadwal latihan kelompok musik keroncong Gema Lansia, sebuah kelompok musik keroncong yang sudah berdiri sejak tahun 1992. Mereka rutin setiap hari Minggu berlatih dirumah Ibu Hj. Sardjono, pimpinan kelompok Gema Lansia. Berawal dari Masyarakat Bausastran yang suka musik keroncong, mereka sepakat membentuk orkes keroncong sebagai wadah apresiasi genre musik tersebut.

Sesuai dengan nama kelompok ini Gema Lansia, dapat ditebak dengan mudah bahwa anggota dari kelompok ini adalah para lansia. Beranggotakan Slamet, 56 Tahun (gitar); Maryono, 65 Tahun (cuk); Harto, 53 Tahun (cello); Budi Mulyono, 77 Tahun (contra bass); Muhajir, 66 Tahun (biola); Herawati (vokal); Hj. Sardjono (vokal); dan ditambah dengan satu-satunya anggota termuda di kelompok ini adalah Fajar, 21 Tahun (cak). Siang itu Gema Lansia berlatih memainkan lagu-lagu semacam “Sepasang Mata Bola” ; “Setulus Hati” dan “Keroncong Tanah Air,” yang mengalir pelan di antara rintik hujan.

Keroncong Di Tengah Keriuhan Jagad Kapital

Tak dapat dipungkiri lagi Kita sekarang hidup di era puncak kapitalisme di mana segalanya diukur berdasarkan industri dan keuntungan, termasuk dalam industri musik maupun  seni pertunjukan. Pop atau musik populer ibarat anak emas di jagad kapital ini dimana mereka terus diagungkan dan diekspos besar-besaran, karena inilah yang paling laku dan segera dapat menghasilkan keuntungan paling banyak. Sedangkan keroncong, meski sesungguhnya tidak sedikit pihak yang menggemarinya, tetap masih kalah dengan gegap gempita musik populer. Keroncong kurang diberitakan dan mendapat kesan terpinggirkan. Melawan kapital tentu naïf dan sia-sia mengingat kuasa kapital cukup besar. Namun ditengah keriuhan jagad kapital yang mengagungkan popularitas demi keuntungan ini, Gema Lansia ibarat sebuah oase penyegar yang enggan tunduk pada kuasa kapital. Mereka bertahan dengan musik keroncong demi kepuasan estetis serta demi pelestarian budaya yang menurut mereka adalah asli milik negeri ini.

Gema Lansia memutuskan terus memainkan musik keroncong untuk melestarikan budaya, karena menurut mereka keroncong adalah budaya asli Indonesia. Memang ada beberapa teori mengatakan tak ada musik yang asli, sebab setiap musik adalah penyempurnaan atau selalu mengambil satu bagian tertentu dari musik yang ada sebelumnya. Maka seperti ditulis misalnya oleh A.Th.Manusama, Abdurachman R. Paramita, S. Brata dan Wi Enaktoe yang mendedahkan bahwa keroncong yang dibawa oleh bangsa Portugis ke Indonesia bukanlah musik asli Indonesia. namun Kusbini seorang ahli Keroncong terkemuka menolak pandangan tersebut. menurut Kusbini Keroncong adalah asli ciptaan bangsa Indonesia dan oleh karenanya adalah asli milik bangsa Indonesia. Lebih lanjut dikatakan bahwa lagu-lagu keroncong Indonesia memang banyak dipengaruhi dan diilhami oleh lagu-lagu Portugis abad ke 17, tetapi nada dan iramanya sangat berbeda. Meski begitu perlu diketahui bahwa keberadaan keroncong di Indonesia memang dimulai pada abad ke 17, pada saat kedatangan bangsa Portugis ke Batavia. (Munjid, 2001: 10-12).

Mungkin Gema Lansia sepakat dengan Kusbini, bahwa Keroncong adalah musik asli Indonesia yang harus dipertahankan. Keroncong boleh berasal dari Portugis, namun yang berkembang di Indonesia telah menalami proses akulturasi dengan budaya Indonesia dan akhirnya melahirkan sebuah budaya baru yang bolehlah dinaggap sebagai budaya Indonesia, jika memang predikat itu diperlukan. Meski kebanyakan anggota kelompok Gema Lansia berusia lanjut, mereka tetap bersemangat memainkan keroncong atas dasar kecintaan kepada budaya bangsa dan bukan untuk mendapat keuntungan. Ini sesuai dengan teori Alan P. Merriam mengenai 10 fungsi pokok musik dimana diantaranya musik digunakan sebagai kepuasan estetis dan hiburan. Gema Lansia telah melakukan perjuangan mulia dengan bertahan kepada prinsip mereka di tengah riuh rendah musik pop.

Perjalanan Musikal Keroncong

Menurut Herawati, vokalis Gema Lansia yang pernah berguru pada sang maestro Kusbini, terdapat dua aliran dalam keroncong yakni Pakem dan Kreatif. Secara mudah dapat dikatakan bahwa Pakem adalah keroncong asli dengan berbagai aturan yang harus dipatuhi saat memainkan musik, sedangkan Kreatif ialah keroncong yang sudah mendapat sentuhan-sentuhan musikal tambahan demi kepuasan pemusik. Pakem untuk golongan tua, Kreatif untuk golongan muda. Pakem biasanya hanya memainkan 7 instrumen yakni Gitar, Cak, Cuk, Cello, Contra Bass, Biola, dan Flute. Sedangkan aliran kreatif biasanya menambahkan berbagai instrumen lain sesuai kebutuhan musisi. Dapat disimpulkan bahwa keroncong adalah sama seperti genre musik lain yang mengalami perkembangan musikal seiring jalannya waktu.

Secara umum, perkembangan keroncong pada abad ke 20 dipengaruhi oleh musik-musik Barat seperti irama off-beat dance dan Hawaiian. Pengaruh tersebut tampak dalam penggunaan alat-alat musik dan irama. Pada kurun waktu 1915-1937, berdatanganlah ke Indonesia musisi-musisi dari Rusia, Perancis, Belanda, Polandia, Cekoslawakia dan Filipina, baik perseorangan maupun dalam kelompok-kelompok seperti kelompok ensamble atau kelompok orkestra (Pasaribu, 1985). Dari mereka itulah pada akhirnya masuk instrumen cello, contra bass, flute dan gitar melodi. Juga mulai bersentuhan dengan irama musikjazz off-beat dance dan Hawaiian. Jadilah keroncong seperti yang berkembang di Indonesia, dan itu juga yang dimainkan oleh kelompok Gema Lansia, dengan tipikal ciri khas musikal keroncong yang begitu terasa dengan biola yang selalu dimainkan diawal dan akhir lagu menjadi semacam introduksi dan coda. Cello tidak digesek menggunakan bow, tapi dibetot/dipetik dan dirubah menjadi sarana perkusif nan menghipnotis yang dianalogikan sebagai kendang dalam gamelan Jawa. Contra bass adalah penegas, fill-in dari gitar mempermanis suasana, sementara itu instrumen cak dan cuk bersahut-sahutan merupakan ciri asli keroncong. Vokalis bernyanyi dengan cengkok atau greget atau embat khas yang tidak ditemukan di jenis musik lain.

Kesan berpengalaman terlihat jelas dari para musisi Gema Lansia. Skill bermusik mereka tidak bisa diragukan lagi. Hasil dari tempaan waktu dan jam terbang yang tinggi dalam bermusik keroncong tentunya. Misalnya ketika vokalis meminta memainkan lagu “Layang Kangen,”sebuah tembang campursari yang dipopulerkan oleh penyanyi Didi Kempot. Sang pemain biola tidak tahu lagu ini, namun dari awal lagu sampai akhir tetap mampu memainkan porsinya tanpa adanya nada yang fals atau salah. Ini bukti kemampuan bermusik yang mumpuni dari para personil Gema Lansia, Hal ini juga dipermudah dengan adanya pakem pola tertentu dalam keroncong, sang musisi tinggal menuruti pakem tersebut sesuai register nada yang diijinkan hingga tidak perlu khawatir kehilangan arah atau kebingungan ketika memainkan lagu yang tidak diketahui. Selama sang musisi tetap patuh pakem itu, maka rasa keroncong akan tetap ada dan harmonisasi tetap terjaga.

Lestari Keroncong

Sekarang keroncong lebih dikenal masyarakat sebagai aliran musik orang tua, kesenian khas Indonesia yang melodius, dinamis, dinyanyikan dengan cengkok khusus, dibawakan oleh musisi yang sopan, tidak banyak gerak dan terkesan kaku. Sekarang keroncong mungkin milik orang tua, namun sesungguhnya di masa lalu keroncong adalah musik anak muda. Dahulu, Keroncong dimainkan anak muda untuk merayu noni-noni dan gadis muda. Dari awal Keroncong sempat bertransformasi dari yang awalnya kaku menjadi lebih romantis. Lagu-lagu keroncong yang dinyanyikan berdendang tentang asmara untuk merayu lawan jenis. Mereka menyanyikan Keroncong di jalan-jalan, di gang-gang kampung melewati rumah-rumah para noni pada malam hari. (Suadi, 2000:81). Lalu kenapa belakangan bisa muncul stigma musik keroncong adalah musik orang tua? Barangkali benar seperti dikatakan para anggota Gema Lansia, keroncong kurang terekspos sehingga masyarakat kurang mengenalnya, keroncong jadi terkesan elitis, ekslusif, dan hanya cocok dinikmati orang tua.

Ada sebuah pepatah jawa mengatakan “witing tresno jalaran soko kulino” yang artinya kurang lebih “Suka karena terbiasa.” Hal itu yang terjadi pada Fajar, satu-satunya anggota Gema Lansia yang berusia muda. Fajar mengaku suka keroncong awalnya hanya dari kebiasaan mendengarkan ketika kelompok Gema Lansia berlatih, lama-kelamaan tumbuh rasa suka dan akhirnya menetapkan hati untuk memainkan musik tua tersebut.

Mungkin kini dengan exposure dan publikasi yang lebih gegap gempita Keroncong tentu akan lebih dikenal oleh masyarakat, dan konsisten dengan prinsip “witing tresno jalaran soko kulino” maka tidak menutup kemungkinan masyarakat pada akhirnya bisa mencintai keroncong. Kita berharap akan muncul banyak Fajar yang lain, anak-anak muda penyuka The Shins namun tetap menyukai keroncong. Gema Lansia sudah melakukannya sejak lama, tidak perlu menunggu aksi pemerintah yang tak kunjung sadar untuk membesarkan budaya bangsa sendiri. Gema Lansia sudah melakukan itu sampai pada usia senja tanpa pretensi dan keinginan untuk mencari keuntungan di jagad kapital industri musik. Yang mereka inginkan hanyalah kepuasan estetis dan upaya melestarikan keroncong yang menurut mereka adalah budaya indigenous negeri ini.

*) Oleh Aris Setyawan, Mahasiswa Jurusan Etnomusikologi Institut Seni Indonesia, Yogyakarta.

13 notes8.2811:44 PM • Source: arissetyawan
#musicology #indonesia #keroncong #history

pauseplaceplease:

The Five Genders of the Bugis
South Sulawesi’s Calalai, Calabai, & Bissu
 
The Bugis of South Sulawesi have a detailed system of gender identification which has been described by one young Bugis as “one of those puzzles that doesn’t mean anything until you put all the pieces together” (Graham, 2004, p. 109). Indeed there are five distinct gender identities specified in Bugis society, which include: makkunrai (woman), calalai (transgendered female) bissu (androgynous priest), calabai (transgendered male), and oroané (man). The determination of individual gender is composed of many elements and is conveyed by Graham (2004) as a holistic consideration of physical, spiritual, social, and sexual attributes.

~

The physical body is very important in determining gender. A person’s sex determines their potential to procreate and as males can never be women or calalai and females can never be men or calabai the matter is not taken lightly (Davies, 2006). As for the other factors, in many ways an individual’s spirituality, sexuality, and preference for typical male or female social roles, will first clearly determine what they are not, since the categories of ‘man’ and ‘women’ are extremely strict. As Davies (2006) describes: A woman is female-bodied, heterosexual, married, a mother, and dressed modestly and appropriately (e.g. her sarong is tucked-in rather than rolled down like a man’s). A woman acts demurely, speaks politely, is refined and reserved, and identifies and is identified as, a woman … A man is male-bodied, heterosexual, married, and a father. A man is assertive and aggressive and controlled (p. 4-5). Those unable or unwilling to conform to these rigid categories are thus excluded and necessarily relocated in another gender category - quite likely calabai or calalai depending of course upon your physiology.

~

An agreed upon understanding of Bugis gender conceptualization and the role of multiple genders in South Sulawesi is difficult to convey, as many scholars have conflicting view points on the matter. While some seem mainly focused on the potential for diversity and self-expression in a society that recognizes the gender variation of its members as legitimate, others point out that forcing people into additional gender categories simply reinforces dichotomy and binary gender ideals (Davies, 2006; Graham, 2004; Idrus, 2005; Murray, 2002).
#indonesia #not history #culture #LGBTQ #sulawesi
crabbysoup-sally asked, "Hello there darling! ^^ let me just say first that I am very grateful to have found your informative and insightful blog! Now may I inquire if you have any information on Masonic schools in the Indies? Because the famous literature "Hikayat Siti Mariah" made a passing mention of it and it stuck with me. Are they open to all social stratas at that time or reserved only for children of the nobility? I've tried finding some info on it in Indonesian but, well, they're all very stigmatized. Thanks!!"

Lol this is truly an interesting topic. Wow I have smart readers =w=

True that it’s stigmatized and I don’t think I’m capable enough to talk about it. Now please note that this is as far as I know—-Freemasonry itself started as a brotherhood of the intellectuals who promoted free-thinking and pursue of knowledge. Of course the ‘side effect’ when an individual is encouraged to pursue free-thinking, they can be ‘defiant’ as in, thinking all things supernaturals or spiritualism / religiosity must be stupid because it holds a person from optimizing their intellectualism. For example, Mozart was said to be involved in the organization since he openly disliked the Church. When his wife Constanze feared this would cause a huge stir among society, Mozart simply said the Freemasonry taught him not to fear death. Still I could not find if Mozart joined to ‘rebel’, or that he was fed up with the dogmatic things he felt like being shoved down his throat.

I think I recall I’ve skimmed something that says the organization could be traced back to the 14th century Europe, but it was banned by Philippe le Bel of France and Pope Clemens V.

In Indonesia it was said to be brought by the Dutch in the 1700s and early 1800s, and was called Vrijmetselarij. Maybe you can start from there. 

Found this, but really though, things like Freemasonry and the like are filled with assumption if not overloaded conspiracy theory so I can’t really say anything regarding the matter.

I only read Siti Mariah’s synopsis, sadly; but considering the plot, she herself being an Indo woman with a European father, the book sounds like trying to protest the custom of taking a mistress (in what we can probably say, in today’s context, feminist approach to see it?).

6 notes8.2411:09 PM
#surat pembaca #crabbysoup-sally
Anonymous asked, "Adminnya orang Indo? :v"

Orang Indonesia asli kok (・∀・ )

5 notes8.2411:44 AM
#surat pembaca #anonymous
Anonymous asked, "hi^^ I heard about the eruption of Tambora, I want to create a document about it. Can you help me? Can you give me the full story and some photos please? thanks a lot^^"

Hi, 

I want to create a document about it. Can you help me? Can you give me the full story and some photo […]”

I’m sorry but that sounds like you want me to do the whole work? The blog provides history-related aspects regarding Indonesia which I shall listen to suggestions but in the end people need to do their own homework as well as not stopping to read books and journals. A tumblr is not a substitution for that.

Still, try starting from http://www.volcanodiscovery.com/tambora.html

"Maria, a man can’t promise anything… except this love," Captain von Trapp in the Sounds of Music.

As well as your other message, it’s stated in the FAQ but yes, I am Indonesian.

3 notes8.249:46 AM
#surat pembaca #anonymous

Batik Nyonya - Lily Yew

pepperlim:

image

Vintage Pekalongan Batik Tulis

Growing up in a typical Penang Straits Chinese home, I remember my mother wearing batik sarongs every day.  She went to bed in one of her old and faded sarongs but changed to a crisp starched one the next morning.  She wore beautiful hand drawn batik tulis with her embroidered nyonya kebayas for special occasions but paired her sarongs for daily use with short sleeve blouses.

Both my paternal and maternal grandmothers would wear the short white nyonya blouses with batik sarongs at home but wore kebaya panjang when they went out.

Batiks then were mostly made of cotton, hand done using the canting, called batik tulis or block stamped called batik cap.  It was only much later that screen printed sarongs were introduced.
image

Screen printed sarong

The nyonyas preferred sarongs from the Pesisir/coastal regions of North Central Java which were colourful unlike the traditional Javanese batiks from Solo and Jogjakarta.  Those were made with natural dyes so were mainly in shades of browns with very distinct motifs originally meant for the royal courts.

Straits Chinese ladies wore sarongs imported mainly from Pekalongan, Kedungwuni and Lasem.  These were originally made for the Indonesian Peranakan community in Chinese owned batik workshops with motifs largely influenced by silk embroidery from China, Chinese symbols, animals, birds, insects and flowers.  The European, especially Dutch influence was evident in the bouquets of flowers, temperate flowers like tulips and lilies and figurines from fairy tales and nursery rhymes.  Hokokai batik was introduced during the Japanese occupation of Indonesia during WW2 .  These were with many strong colours and very busy.  Many featured the sakura flower.

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Vintage Pekalongan Batik Tulis with synthetic dyes

Earlier batiks from Lasem and those of ‘Tiga Negeri; were with vegetable dyes.  ‘Chicken blood’ red was from roots of the noni, blue from the indigo leaves and stems and brown from mangosteen and soga tree bark.  As the Indonesian Peranakan ladies preferred pastel but colourful batiks, synthetic dyes were later used.  These were the qualities imported for use by our local nyonyas.   My grandmothers and elder aunts wore sarongs that were less colourful and elaborate than those available during my mother’s time when synthetic dyes were widely used. Mother related an incident that a cat ‘attacked’ a sarong left to dry because the batik motif of a cockerel was so life-like.  Batik tulis was an art form meticulously executed to the highest standard.  The above examples of batik tulis were sold for just Malayan $35 in the 1950’s.

image

A matriarch and her 7 daughters in batik sarongs and kebayas

Elder matriarchs preferred subdued colours but reserved certain sarongs for when there was a death in the family or to attend wakes and funerals. These were considered ‘mourning’ sarongs, mainly with blacks, blues and greens.

image

Mourning batik sarong in shades of blue

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Mourning batik sarong for 3rd stage which includes shades of green

Nyonya ladies wore both sarongs and batik lepas (kain panjang). Sarongs are 2 meters in length, with 2 distinct panels, the smaller ‘punca (kepala)’ and larger ‘tana (badan)’ panel.  Raw fabric edges are sewn together to form a tubular sarong.  A batik lepas is about 2.5 meters long but both ends of the fabric are neaten but left as a flat sheet of batik.  Unlike batik sarongs with the 2 distinctive panels, most batik lepas are either of one free flowing or repetitive motifs except for those called ‘siang-malam (pagi-sorei) batik lepas.  A single siang-malam batik lepas fabric has 2 different motifs usually separated diagonally in the middle.  Worn correctly, it has the effect of 2 sarongs in 1.  Most Hokokai batiks were in the siang-malam style.

image

Vintage batik sarong

image

Vintage batik sarong

image

Batik lepas

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Batik lepas

image

Vintage siang-malam kain panjang

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Vintage siang-malam kain panjang for the mourning period

Fine Indonesian batik tulis is a work of art painstakingly made using the wax resist technique.  It is a labour of love as a single sarong may take months to complete.  It is a slow process, applying different layers of wax and dyes. A single flower may be covered with hundreds of wax resist dots as tiny as pin pricks.  It is a treasured heritage still practised till today despite modern technology of mass produced screen printing of batik prints.  With batik cap, many sarongs can be completed within days using block prints and painting.

image

Hand stamped/batik cap sarong

To a nyonya, the mark of a good batik nyonya is the simple line pattern at the selvage edges called ‘kaki’.  It has to be very narrow and the lines, fine and evenly spaced.

Fine batiks sarongs formed part of a nyonya bride’s dowry and a bridal chamber would have a cupboard of neatly folded sarongs.

Unfortunately, not many of these beautiful antique batiks have survived as it was our custom to send off our dearly departed with their worldly goods.  Many antique batik pieces were placed inside coffins before burial or cremation.  It was not our local practice to cherish and not use our dowry pieces either so those that survived are no longer in mint condition but thoroughly worn.  Even then, qualities of dyes have survived the test of time.  Many vintage batik sarongs with worn out fibres have retained their vibrant colours.

When a nyonya who enjoyed a good and fruitful life dies, neighbours and friends would ask for her used sarongs.  It was the belief that her blessings would be bestowed to the wearer and also to babies when used as a draw sheet for the baby’s cot.

In the 1960’s, Kelantan and Terengganu workshops produced some batik nyonya.  These were mainly made with brass block stamps.  ‘Wah Bee’ in Penang made affordable silk screen sarong prints.

Batik sarongs are very versatile, used both for day and night and for any occasion.  It is worn at home and also to attend the grandest event, a fabric for all seasons.  It doesn’t matter as one size fits all.  You can wear it throughout pregnancy and after childbirth, literally from ‘the womb to the tomb’.  It is very comfortable and secure once you have mastered the art of wearing it.  It just takes practice.  It cannot be that difficult if little old ladies can do it.

While some ladies were apt at securing their sarongs with just a few twists, turns, folds and tugs, most others feel safer using metal belts.  These were usually of silver or silver plated while rich families had gold or sausa (an alloy of copper and gold) belts.

As nyonyas were trained from young to be meticulous, fine batik sarong seams had to be finely hand-stitched.   Top sewn with white threads, the stitches translated as ‘bed bug eggs’ in Hokkien were to be as tiny as the wax-resist dots of the batiks.

Laundered sarongs require a final rinse in diluted tapioca starch.  They are left to air-dry in a shady place away from direct sunlight.  Turned inside out, they were threaded through bamboo poles, stretched out and weighted down with another length of pole.  This makes for easier ironing out of creases when dried.

In this tropical heat, in the privacy of their homes, some ladies tie their sarongs above their bosoms (berkemban) and bare their shoulders.  In the days when kampong homes had community baths, it was a common sight to see women taking their baths at the well with just sarongs to cover their modesty.  Most baby boomers would have at least used the sarong during the confinement period after childbirth.  You can use it now at the beach as your changing ‘room’!  Mothers used sarongs as baby carriers and also as a cradle.  A large coiled spring tied to a strong overhead beam holds the looped sarong for babies to sleep snugly in.
Batik tulis then had resale value.  Pawn shops even took them as collaterals when poor folks needed cash urgently

Old worn out sarongs were recycled.  Being of fine cotton fabric, they were absorbent so poor families cut them to be used as baby nappies.  At the least they were useful as household rags.  They make the best protective cover when used for storage as natural fibre ‘breaths’ and absorbs moisture. 

During WW2, when the Japanese attacked Penang in 1942 and families fled into hiding, sarongs were used to bundle the barest necessities and slung over the shoulders.  It was later to became a standing joke, ”to hurriedly bundle your belongings and run away or elope!”.  

Little children loved sitting between the legs of sarong clad nyonyas.  The stretched out sarong fabric between the knees becomes a rocking seat/swing.  The fold of grandma’s sarong is refuge when little ones need a hiding place….from a reprimanding parent wielding a cane.  It’s a guaranteed safe haven for who would dare accidently cane grandma?
In the days when nyonya maidens were cloistered at home, it was considered unbecoming for a maiden if ‘the hem of her sarong crossed the threshold of the front door’. Unmarried girls just never left home without a chaperon.

If a mature fruit tree does not flower, kampong folks would wrap an old sarong around the trunk to symbolically shield the tree they consider ‘too shy’ to propagate and bear fruits.

I pack a sarong for my travels.  It comes in handy in some places of worship, as a quick change in emergency and an all-purpose fabric sheet when needed.  It came in handy while staying in a traditional Japanese Inn with a communal heated pool.  While braver souls jumped in naked, a quick bath ‘berkemban’ by the side sufficed. 

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Pekalongan batik cap sarong with ‘tumpal’/isosceles triangles pattern for its ‘badan’

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Back – Peter Wee’s Vintage Pekalongan sarongs

Mr. Peter Wee of Katong Antique House, Singapore showcased his collection of vintage Peranakan batiks at the Batik Festival in Kuala Lumpur in 2012

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Back - Vintage bed covering from Lasem

An invitation to view the vintage batik collection of Mr. Hartono Sumarsono after a chance meeting at ICRA (Interior and Craft Fair) 2013 in Jakarta was an unforgettable experience.  Of Chinese descent, he has the most amazing collection of vintage Batik Pesisir.  A second coffee table book featuring his collection will be published soon.  His workshops produce copies of his vintage batiks, both in fine batik tulis and affordable prints making it possible for others to wear his proud heritage.

Lily Yew

June 2013

40 notes8.2212:36 PM • Source: pepperlim
#indonesia #costume #fashion history #southeast asia #chinese diaspora