Textiles and embroidery
Traditional textiles and embroidery in Malaysia are valued not only for their functionality, such as when used for clothing, but also for the beauty and status that they represent. The development of textiles and weaving techniques was in concert with the discovery and use of new materials: from tree bark and plant fibres in prehistoric times, to cotton, silk, gold threads and dyes. The Malay term kain (cloth) generally refers to any textile produced using the weaving technique.
Various textiles are produced from cotton using many techniques such as direct weaving (tenun langsung), single ikat (ikat tunggal) or embroidered weaving (tenun sulam). Of these techniques, single ikat, using a tie-dyed yarn, is one of the most familiar, and characteristic of some Bornean indigenous textiles. Silk textiles include those with gold thread or gold and silver yarn using the double ikat technique (ikat ganda). Today, the east coast states of Peninsular Malaysia are especially well known for songket and batik, and Perak for fine embroidery such as tekat.
Many textiles have cultural significance, for instance, cindai (imported from India) and local kain limar and songket have long held a place in Malay society, being used for important occasions and traditional costumes. Colours also played a role; it was recorded in 1405 that the ruler of Melaka was sent as a gift a suit of silk clothing and a yellow umbrella. The latter has been the emblem and colour of Malay royalty ever since. The pua kumbu of Sarawak also has spiritual significance.
Many textiles have cultural significance, for instance, cindai (imported from India) and local kain limar and songket have long held a place in Malay society, being used for important occasions and traditional costumes. Colours also played a role; it was recorded in 1405 that the ruler of Melaka was sent as a gift a suit of silk clothing and a yellow umbrella. The latter has been the emblem and colour of Malay royalty ever since. The pua kumbu of Sarawak also has spiritual significance.
Among the Malays and other indigenous peoples, abstract designs and motifs based on nature are the most favoured. The Malays use an interplay of geometric forms to pattern their sarong and songket, including interlocking chevrons and diamonds. Stylized designs such as awan larat (meandering clouds) and pucuk rebung (bamboo shoots) are two typical designs. The Iban of Sarawak use woven motifs to symbolize an event, thought or even a dream, with designs handed down from mother to daughter, while the people of Sabah prefer stripes and geometric designs
The Straits Chinese are known for their embroidered kebaya, a long-sleeved blouse with characteristic intricate lacework worn with a sarong, and their highly elaborate beadwork found on accessories such as belts, slippers, handbags, tapestries and bedspreads. The products of these crafts are once again popular among Malaysians.
Some textile crafts continue to thrive partly due to prevalent fashion trends, but others have declined due to the laboriousness and intricacy, and thus cost, of production. For these latter crafts to survive, innovations are required, be they design, function or production techniques.
