Indonesian Textile Techniques by Michael Hitchcock

Review by: Andrew West

Newsletter (Museum Ethnographers Group), No. 20 (FEBRUARY 1987), pp. 115-118
Published by: Museum Ethnographers Group
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 115

This derives fromChristian Kaufmann1 s detailed review of Ross

Bowden's book Yena Art and Ceremonyin a Sepik Society (Oxford,
1983) published in P. A.N. 19 (1984: 14-18). Kaufmannraised some
objections to Bowden's work, centred on a criticism of a selective
approach to ethnographic literature. Kaufmann was also concerned
that Bowdentransgressed by publishing photographsof Kwoma
carvings and their ceremonial context, photographs that were not
to be seen by Kwomawomenor uninitiated men. In P. A.N. 20
Bowdenreplies and refutes Kaufmann1 s objections under ten points.
On the question of the photographsBowdenwrites that he had
discussed their publication with the menin the community: 'Somewhat
to raysurprise they stated that they were not greatly concerned,
since in their view, the really importantritual secrets were not
the objects themselves but certain things that they did to them
prior to displaying the ritual ly - actions which are not shownin
mybook, at myinformantsrequest1 (p. 47). The review, reply and
Kaufmann1s brief rejoinder show that the truth is still well pursued.

Finally the index, which is to P. A.N. numbers1-20. It occupies

the last sixteen pages of this issue and seems quite comprehensive,
noting museumsand reviews, as well as articles by author, country
and topic. P. A.N. 20 also notes the publication of The Art of
Oceania: A Bibliography compiled by Louise and Allan Hanson and
published in 1984 by GKHall of Boston. This bibliography is given
as 539 pages long with 6,650 mainly annotated entries dealing with
the visual arts of the Pacific. It is not reviewed but must be
worthnoting as a starting point for researchers.

Note

1 Philip Dark is also Editor of P. A.N. His address is Saben,

Upper Castle Road, St Mawes, Cornwell, TR2 5BZ.

Hitchcock, Michael. 1985. Indonesian Textile Techniques. Princes

Risborough, Aylesbury: Shire Publications Ltd. 56pp, illustrated.
ISBN 0 85263 769 1

A book on the textiles produced in this vast area of the world's

surface is an ambitious study, and it is not surprising that Michael

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 116

Hitchcock limited his field, in the title at least, to textile

techniques. Even then the constraints of size and formatin
the Shire EthnographySeries, of which this is numberone, prevent
the book being muchmore than a taster to whet the appetite of a
reader new to the subject. The range of techniques alone used in
Indonesia deserveslong and detailed study, while the cultural
diversity of the region complicates any description of the use,
function and importanceof textiles in Indonesian societies.

Island South-East Asia has always been a popularly under-

estimated part of the world, with old kingdoms,recent states,
fertile lowlands and highland villages scattered throughoutlarge
and small islands, and a syncretic unity amongstthis diversity.
Indonesia itself is a modernpolitical entity based on the Dutch
colonial empire with frontiers which ignore manylocal cultural
boundaries. A study of Indonesian textiles would literally mean
-
including the products of Irian Jaya (WesternNewGuinea) outside
the sphere of any South-East Asian unity - but excluding large
parts of the island of Borneo (Sarawak, Sabah and Brunei), because
they fall outside the political realm of Indonesia. The study
also means considering the very different societies and environmental
backgroundsof lowland Java and highland Kalimantan, but such a
juxtaposition can make for learning, and visual and aesthetic
stimulus. In this book Hitchcock excludes Irian Jaya but sadly
also Sarawak. The latter exclusion maybe justified on the grounds
that muchhas already been published in English on the ikat
f
manufactureof the Iban peoples probably the best known tribal1
textile producers in Borneo. But there would seem to have been a
case for a consideration of the textiles of this part of the world
in a broad cultural rather than political framework,even if this
is unrealistic in the modernday. However,by dealing with
Indonesia Hitchcock does utilise his recent field experience and
concentrates on a part of South-East Asia not so well knownto
an area not so well
monoglotEnglish readers and also, one suspects,
represented in British museumcollections.
The difficulty of compressingso large a field into such a
small book is obvious, but Hitchcock succeeds quite well. The main
five chapters are all of about the same length (ten pages). The
book opens with an introduction split into six parts. The first
of the world
briefly notes the importanceof textiles in this part

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 117

in aesthetics, ritual and the economy,and the last brings a modern

perspective on craft workers. In between these, the Indonesian
context is developed in geography,history, physical appearance,
language and social environments.

Chapter Two, Textiles and Society, in someways also serves as

an introduction, laying essential backgroundto the following three
chapters. For manythis will be the most interesting part because
it is here that an anthropological perspective is given. This
section briefly considers the role of menand especially women;
designs, colours and social status; the use of textiles in
ceremonial and ritual; and, finally, use for clothing. I would
have been happy to see this portion of the book expanded and given
further analysis but the title does emphasise other interests.

Chapters Three, Four and Five, on Materials, Looms and Decorative

Techniques respectively comprise the body of the book. Here Hitch-
cock has had to attempt the difficult task of explaining technical
terms, methodsof work and practice, and local Indonesian variations
and products. He accomplishes this by starting fromthe technical
base and giving examples of practice and product froma few places,
rather than looking at the range to be found in a single island,
village or society.
This traditional ethnographic approach has manyadvantages, not
least familiarity to a publisher seeking new avenues, and the size
of the book precludes breaking muchnew ground. Part of the problem
is the need to set the scene, not only of the region (history,
geography, society, etc.) but also of textile technology. The life
and excitement of material culture studies, in for example aesthetic
appreciation or use, function, symboland imageryin society, can
only be limited. Hitchcock acknowledges some of this in the final
passage of the main text: 'For non-Indonesians there is muchto be
learned about the interpretation of designs and differences in
aesthetics1 (p. 52). The book concludes with a useful international
list of museumsand addresses, further reading and an index.

This volume is well illustrated with forty black and white

photographs and line drawings, manyproduced by the author. The
book is to be welcomedas a good start to a new series that will
hopefully raise the public profile of 'ethnography1and perhaps

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 118

create a demandfor increased future scholarship and communication.

It will provide a useful backgroundfor curators with specialisms
elsewhere and a good introduction to the subject for the interested
museum
visitor.

AndrewWest

EXHIBITIONS

HornimanMuseum,Forest Hill, London.

The Tent: a home, shelter and a way of life.

Ramayana- the story of Prince Rama's life in Ancient India.

From12 Feb. 87 for one year

MAKING LIGHTWORK A new exhibition of Lamps and Lighting at the Pitt

Rivers Museum,Oxford, sponsored by ThornEMI Lighting Ltd. From31
Jan 1987 Open -Sat.
Mon. 2-4 p.m.
MAKING LIGHTWORK is a global exhibition of lamps and lighting,
tracing the gradual developmentof the oil lamp and the candle. It
looks at the ways in which people have lit their homes, their places
of workand their temples in different parts of the world throughout
the ages. It illustrates the amazing range of ideas and materials
used in makinglight: whereas lamps maybe expertly crafted from
glass, brass or pottery, they can also be made fromsnail shells,
stones or old tin cans.

MAKING LIGHTWORK is brought right up to date with the workof Margaret

OfRorke, an Oxford potter. Margaret's speciality is throwntrans-
lucent porcelain lights, but as a result of her workwith the Museum
she has also started to use oil and candles in her lights.

NOTICES

DAYAT THE PITT RIVERSMUSEUM

TECHNOLOGY

On Friday 2 October 1987 MEGwill be holding a meeting entitled 'The

Identification of Materials and Techniques'. Papers on all aspects
of material culture will be welcome, ranging from the general to the
specific. Speakers will have the opportunity to use specimens from
the Museum'scollections to illustrate their talks. Offers of
Pitt Rivers Museum, South Parks
papers please to Linda Cheetham,
Road, Oxford0X1 3PP (Tel: 0865 512541 x 623).

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