Throughout history people have always tried to interact with the supernatural as a way to maintain harmony in a world full of the unknown. In order to find some sense of security, societies around the world have developed their own ceremonies and rituals. Textiles are often given magical qualities and they play an essential role in these events.
In the Indonesian archipelago, many ikats are used during rituals such as weddings and funerals. Among the Indonesian ikats in the TRC collection, there are two ceremonial cloths that caught my attention. At first glance they may seem ordinary, but they actually give us a glimpse into the afterlife!
Cloth/shroud from West Sumba (TRC 2020.4734).
Different from the popular Hinggi from East Sumba, the ikats produced in West Sumba are often overlooked and left out in literature. This could partly be attributed to the inaccessibility of the area and the nature of the textile. The ikats in West Sumba are produced in Kodi, which is the westernmost tip of Sumba island. Also, these hanggi are generally produced as shrouds for deceased noblemen, so many of them are lost in the funeral.
Compared to the visually striking ikats made in East Sumba, the colour combination of the West Sumba cloths is undeniably subtler, with a much smaller range of motifs. However, I would say that these blue and white ikats from West Sumba are one of my favourites among all the Indonesian ikats I have come across in the TRC collection.
Unlike the horizontal division of panals used on the ikats from East Sumba, West Sumbanese ikats is marked by the horizontal and lateral framing, which may have been inspired by the Indian patola.
In the cloth illustrated here, also known as a hanggi ngoko or hanggi wolo remba, you can find a reticulated lozenge pattern in the central field. It may look like a purely geometric design, but in fact this pattern is imitating the skin of a python. Snakes and specifically pythons have the ability to shed their skins and regenerate their bodies. Hence in Kodi mythology, the python is an analogy for rebirth and is associated with ancestors and life after death. The ikats are made with handspun yarn that gives the cloth a coarser and sturdier texture - a desirable feature of the shroud as it is meant to mimic the thick skin of a python that can protect the deceased on their journey to the next realm.
As you can see, even though the colour of the hanggi is subdued and quiet, its spiritual value is hidden within the simple yet intricate and systematic pattern. Its beauty and power lie in the subtlety and calmness. Looking at the cloth, can you imagine it being a magical shield protecting one on the journey through the afterlife?
Cloth/shroud from Sulawesi(TRC 2022.0863).Another ikat I want to mention is a seko mandi shroud from Sulawesi. Ikat cloths made by the Torajan people in Sulawesi are known for their geometric pattern in bold colours. A seko mandi is a kind of shroud that is used to cover the coffin or to be displayed at a funeral. It typically consists of a square centre field and the main motif displayed here is called seko or sekong, which no longer has any meaning other than the name of this pattern. It is a series of interlocking hooks that represent the limbs of a diamond-like body turned inward and the interlocking of arms here symbolize the long links of ancestors that the deceased would be joining in the afterlife. To me, this motif is one last blessing given to the deceased in the hope of the dead person reuniting with the people that passed on before. It is also a reflection of how the Torajans regard death as part of a journey.
What I find interesting about the two ikats above is the fact that to an outsider who does not share the same worldview as the people who use them, these clothes may look like decorative pieces with simple geometric patterns. But with some research and a bit of imagination, these repetitive motifs suddenly give us a glimpse into a much larger spiritual world that transcends life and death.
Kelly Sum-tin Wong, 24 August 2022
