8 Journal of the Science of Design Vol. xx No. x 20xx

convey the heart, Kodansha, 2008(in Japanese) [33] Kakehashi, E., Kasamatsu K., et al., Proposal for a

swallowtail butterflies color scheme collection for CMFdesign based on Kansei representation, 6th InternationalKansei Engineering and Emotion Research Conference(KEER2016), 144, 2016

FUNCTIONS OF GRINGSING TEXTILE WITHIN THE CULTURAL SETTINGS AND DESIGN ELEMENTS

Succession of Gringsing Textile as a Tool of Conservation towards Local Wisdom Within the

Community of Tenganan Pagringsingan, Bali, Indonesia (1)

Lira Anindita UTAMI*, Dudy WIYANCOKO**, Akira UEDA*

* Chiba University Yayoi-cho 1-33, Inage-ku, Chiba 263-8522, Japan* * Bandung Institue of Technology, Ganesha 10, Bandung City, West Java 40132, Indonesia

Abstract: Gringsing is a sacred textile of Tenganan Pagringsingan village produced especially to be used in festive rituals as ritual clothing and offering. This paper is consisted of the research data resulted from the interviews, surveys and participant-observation, and specimen analysis conducted on the design structure of Gringsing such as textile layout, motifs and patterns, and sizes. These elements have significant relevance to the cultural setting which is the functions that were emerged from the necessities created by the traditional customs and the daily life. Through researching the function, the design and the meaning of Gringsing textile related to its ritual context, it can be concluded that (1) through the ritual usage, the physical form of the textile could become exceptionally diverse. (2) The strict customs are therefore translated into the language of colors, size and pattern design. (3) Gringsing represents much of the communal identity and becomes the carrier of meaning for its local symbolism. Keywords: sacred artefact, textile, culture-based-design, semantic, non-verbal communication, traditional community

1. IntroductionLocated in the southeastern part of Bali, the Bali Aga village

of Tenganan Pagringsingan is one of the oldest Balinese village settlement whose tradition and livelihood is centered around fulfilling religious ritual duties. Their unique communal art of living and their village political structure defined as

‘collaborative village republic’ [1] is internalized down along with the practice of communal rituals and daily life cooperation following the Tri Hita Karana philosophy; the sacred philosophy that governs the natural and the supernatural world, by living in harmony with the Supreme Force (God), other human being and the surrounding nature.

The woven textile of Gringsing is a textile produced solely in Tenganan Pagringsingan by the technique called double-ikat, in which patterns are being tied in both the warp and the weft threads to later be woven in a way that the intricate patterns conjoin perfectly to form a complete image. Gringsing production is strictly supervised and conducted by the female generations.

Amidst the growing transition towards the more economic urbanization, the production of Gringsing has since been increased to fulfill the demand of selling the sacred textiles to add the economic value. The mass production, however inevitable, is slowly corroding the valuable cultural properties

The Bulletin of JSSD Vol.1 No.2 pp.1-2(2000)

Original paper

Figure 1. The area of Tenganan Pagringsingan village

(source: Pusaka Collection online museum)

Journal of the Science of Design Vol. 2 No. 2 2018 91

Original ArticlesReceived Apr 18 2018; Accepted Jul 11 2018

Keywords: Sacred Artefact, Textile, Culture-Based-Design, Semantic, Non-verbal Communication, TraditionalCommunity

that are stored within Gringsing. Hence, the main objective of this article is to study Gringsing to clarify its cultural properties from the perspective of the correlation of design, functions and meaning for the purpose of re-recognizing and re-transmitting the recorded knowledge back to the community.

2. Previous Research Many Researchers of social science have conducted

ethnographic studies on the community of Tenganan Pagringsingan and of the sacred textiles. Regarding the community, Miguel Covarrubias [2] wrote extensively on the culture of Tenganan Pagringsingan as one of the surviving old Balinese community (Bali Aga). The village have been existed since before the coming of the Majapahit refugees that made up the most of Balinese population today. To the new Balinese, the community of Tenganan Pagringsingan is unique because the culture and tradition are different than theirs in terms of religious practice and traditional communal living. Angela Francais-Simbuerger [1] focused her study on how their belief system, which is a mixture between paganism, animism and the Indra-sect Hindu, influences greatly on the shaping of traditional customs that govern the social and political relationships. Urs Ramseyer [3] later wrote expanded volumes on the ritual culture, the settlement and the tradition of endogamous marriage. Regarding Gringsing textile, there are only three notable researches introducing the art of Gringsing textile, the usage in the ritual and the possibility of origin. Urs Ramseyer conducted a comprehensive study concerning the ritual and its components in which Gringsing, as an important ritual article, is mentioned as a textile that brings divine protection [4]. Second, Yoshimoto Shinobu [5] has dedicated many profound studies regarding the textile art and the technology of South Asian textiles, including the relation to Gringsing’s possible origin. The last one is H. Coleman [6], who has researched how cultural and historical values of a tradition played a major role in creating the richness of motifs, symbols, and ceremonial uses, also indicating to the development of Gringsing design.

Hence the current exploration of the textile Gringsing is aimed to clarify and record the less explored details on how the traditional culture influence the culture of creating Gringsing and how the textile is treated as one tool to preserve the many stories, myths and meanings related to the life of the community, from the perspective of design and function.

3. Research Method

The research on textile design was conducted using ethnographic methods to collect data such as interviews, field surveys, participant-observation, specimen analysis, as well as taking questionnaires to village informants and local experts [1,3,4,5,6]. The method is used primarily in research for anthropological and sociological studies, hence considered relevant for the purpose of studying the textile design because of the need to understand the influential and inspirational factors such as the people, their way of life and myths. The method produces in-depth research that will assist in emphasizing on how culture could be integrated in the creation of artefacts and product design alike [8]. In one study [9] ethnographic approach can help fostering a culture-based design. In another [10], it helps on how native culture influences the development of new textile pattern design that reflects the great historical and cultural values.

The current research has been conducted within the village establishment of Tenganan Pagringsingan, located in the Karangasem region, eastern coastal of Bali, Indonesia. The field research was conducted three times (February – March 2014, June 2015, and September 2016). The first survey focused on introducing research activity and approach to the life of the community. The second survey focused on interviews and observation of the textile technology, design details and the functions conducted in the residences of the textile artisans, while the details regarding ritual and society were acquired from the interviews with the chieftains and the village scholars. The third survey focused on obtaining the data regarding Gringsing which is kept as heirlooms and their preferred pattern designs through questionnaires. In this paper, the sources is given numeration to denote their name initials,

Figure 2. 19th Century Gringsing Wayang Kebo (source: LACMA, Gift of Mary F. Kefgen)

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that are stored within Gringsing. Hence, the main objective of this article is to study Gringsing to clarify its cultural properties from the perspective of the correlation of design, functions and meaning for the purpose of re-recognizing and re-transmitting the recorded knowledge back to the community.

2. Previous Research Many Researchers of social science have conducted

ethnographic studies on the community of Tenganan Pagringsingan and of the sacred textiles. Regarding the community, Miguel Covarrubias [2] wrote extensively on the culture of Tenganan Pagringsingan as one of the surviving old Balinese community (Bali Aga). The village have been existed since before the coming of the Majapahit refugees that made up the most of Balinese population today. To the new Balinese, the community of Tenganan Pagringsingan is unique because the culture and tradition are different than theirs in terms of religious practice and traditional communal living. Angela Francais-Simbuerger [1] focused her study on how their belief system, which is a mixture between paganism, animism and the Indra-sect Hindu, influences greatly on the shaping of traditional customs that govern the social and political relationships. Urs Ramseyer [3] later wrote expanded volumes on the ritual culture, the settlement and the tradition of endogamous marriage. Regarding Gringsing textile, there are only three notable researches introducing the art of Gringsing textile, the usage in the ritual and the possibility of origin. Urs Ramseyer conducted a comprehensive study concerning the ritual and its components in which Gringsing, as an important ritual article, is mentioned as a textile that brings divine protection [4]. Second, Yoshimoto Shinobu [5] has dedicated many profound studies regarding the textile art and the technology of South Asian textiles, including the relation to Gringsing’s possible origin. The last one is H. Coleman [6], who has researched how cultural and historical values of a tradition played a major role in creating the richness of motifs, symbols, and ceremonial uses, also indicating to the development of Gringsing design.

Hence the current exploration of the textile Gringsing is aimed to clarify and record the less explored details on how the traditional culture influence the culture of creating Gringsing and how the textile is treated as one tool to preserve the many stories, myths and meanings related to the life of the community, from the perspective of design and function.

3. Research Method

The research on textile design was conducted using ethnographic methods to collect data such as interviews, field surveys, participant-observation, specimen analysis, as well as taking questionnaires to village informants and local experts [1,3,4,5,6]. The method is used primarily in research for anthropological and sociological studies, hence considered relevant for the purpose of studying the textile design because of the need to understand the influential and inspirational factors such as the people, their way of life and myths. The method produces in-depth research that will assist in emphasizing on how culture could be integrated in the creation of artefacts and product design alike [8]. In one study [9] ethnographic approach can help fostering a culture-based design. In another [10], it helps on how native culture influences the development of new textile pattern design that reflects the great historical and cultural values.

The current research has been conducted within the village establishment of Tenganan Pagringsingan, located in the Karangasem region, eastern coastal of Bali, Indonesia. The field research was conducted three times (February – March 2014, June 2015, and September 2016). The first survey focused on introducing research activity and approach to the life of the community. The second survey focused on interviews and observation of the textile technology, design details and the functions conducted in the residences of the textile artisans, while the details regarding ritual and society were acquired from the interviews with the chieftains and the village scholars. The third survey focused on obtaining the data regarding Gringsing which is kept as heirlooms and their preferred pattern designs through questionnaires. In this paper, the sources is given numeration to denote their name initials,

Figure 2. 19th Century Gringsing Wayang Kebo (source: LACMA, Gift of Mary F. Kefgen)

gender and age [11].

4. The Belief System of Tenganan Pagringsingan The ancestors of Tenganan Pagringsingan people built a life

enriched in ritual activities centered in the culture of worshipping, cleansing, protecting and offering as gratitude towards the divine as well as keeping out the malice by paying tributes to the underworld spirits. The religious practices are being preserved and practiced as means towards gaining the environmental consciousness and spiritual awakening. The ritual conducted in Tenganan may also never be completed without the existence of symbols. The textile Gringsing, is considered as one of the sacred symbols where its usage in the ritual is prescribed strictly by the tradition [7]. Gringsing textile of Tenganan Pagringsingan is particularly important for it reflects the values of the people concerning their social, spiritual and ecological relationship, as well as the determination in preserving the tradition and way of life taught by their ancestors.

Figure 3. Gringsing function in spiritual, social, and ecological

context (source: Author)

5. Research Results 5.1. Physical Elements

There are three types of physical term based on the condition of the textile [7]. Firstly, the freshly woven Gringsing with the warp still intact is called ‘Sukla’, means virgin. The term refers to the textile in which its ritual function is yet to be decided. Secondly, a virgin cloth that is decided as offering is called ‘Rantasan’, means cloth offering. Once a ‘Rantasan’ is decided to a specific ritual, the use of the same cloth for various rituals is strictly prohibited. Lastly, a virgin cloth that is decided as ritual costume, then the intact warp needs to be cut. The cloth can later be made into several ritual costumes, such as

wrap-around cloths, scarfs, chest cloths, or belts (Figure 4). Rantasan presented to deities and ancestors should be in

tubular form, meaning the warp is intact (known as Meladung) and therefore should not be used as clothing for people. The prescribed form of tubular cloth for the cloth offering is symbolizing the birth and rebirth as well as the continuation of generations. The cloth for costumes are all having cut warps (known as Megetep) and therefore should not be used as cloth offering.

The color hue of Gringsing is divided into two types. The three-colored Gringsing is called ‘Barak’ or red hued, to denote the presence of the three colors (white, red, and black) on one pattern composition. The two-colored Gringsing is called ‘Selem’ or dark hued, to denote the absence of the red hue on the display, leaving only white and black. Gringsing Selem has specific patterns of Wayang and Pat Likur Isi. The ritual specifically prescribes such Barak (red) cloth and Selem (dark) cloth to complete the form of offering.

Based on its usage in a ritual, be it for the cloth offering or the ritual costume, Gringsing textiles are produced in general sizes and special sizes. The sizes are calculated from the amount of threads used in the production. The general sizes consist of (1) small or Cenik (approx. 160 x 25 cm), (2) medium or Patlikur (approx. 160 x 40cm) and (3) large or Petang Dasa (approx. 180 x 50 cm). The special sizes, which refer greatly for the usage of becoming vestments, are (4) the tubular belt or Sabuk Tubuhan (approx. 280 x 20 cm), (5) the long belt or Cawet (approx. 300 x 20 cm), (6) the small scarf Pat Likur Isi, (7) the medium scarf Wayang Putri, (8) the large scarf Wayang Kebo and (9) the largest scarf Lubeng Luhur. 5.2. Practical Usage of Gringsing Textile

Gringsing is used in rituals as ritual offering and ritual costumes. Based on who perform the ritual and the objective of the ritual, ritual activity in Tenganan Pagringsingan can be classified into (1) individual rituals and (2) communal rituals. According to the village scholar (N.Sd, M/67) and the artisan (N.Sw, F/53), in the individual rituals there are set of rituals need to be performed especially for requesting the safety and the protection for the main members of the family within the stages of life, and rituals to honor the direct familial ancestors. Communal rituals on the other hand are the rituals that involve the request for the safety and the protection for the community, the worship of the deities and the exorcism of the underworld spirits as well as the cleansing of the land. A considerably high quality cloth according to the artisan would be used as offering so the god he makes worship to, may acknowledge him [4]. A high quality cloth is considered to have clearly defined patterns, vivid colors and firm weaving.

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A. Gringsing Used as Ritual Cloth Offering (Rantasan) Gringsing as cloth offering is only prescribed for at least 5

kinds of ritual. The cloth offerings are listed as follows (Table 1): 1.Cloth offering made for the wedding ceremony. The cloth

offerings consist of 4 Gringsing Sanan Empeg (Table 2, 1a), each is placed on different offering vessel that would be offered to honor the family clans enshrined in each of the clan temple. To the temple of married couple (known as Pura Jero), Gringsing cloth along with a small dagger is made. Suppose the family is wealthy, the couple would receive textile gifts on the gift-giving ritual known as ‘Mesumbahin’ consisted of Gringsing clothes of the finest quality.

2.Cloth offering made for the ritual a year after the wedding ceremony that is held together with the 5th Month Festival. The offering is called as Maturan Kampuh.

3.Should the bride conceive the first child, a cloth offering is to be inserted in the ceremonial basket (known as Wakul) and

be offered to the family temple. 4.Later when the child reaches 3 months of age, the parents

should come to perform two rituals in Pura Jero. One ritual is dedicated for the child, and the other is dedicated for the parents. The Rantasan from the child consists of Gringsing cloth placed together with jewelry made out of either gold or silver and the ceremonial knife (known as Keris). As for the Rantasan from the parents, it made into two parts. One consists of Gringsing cloth with another supplemented cloth and one piece of sacred cloth to be put on the eastern altar, and the other one is for the western altar.

5.Cloth offering made for hair-cutting ritual (Ngetus Jambot) will be held once the toddler is ready to enter his next growing stage (around 3 until 5 years of age). The cloth offering consists of Gringsing cloth and two other sacred textiles being stacked upon a piece of Banana leaf and some gilded ornament. While another piece of Gringsing will be used to contain the cut hair, before later removed.

Table 1. The usage of Gringsing textile according to occasion and ritual (source: Author)

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Figure 4. Styles of Gringsing worn as ritual costumes (source: Author)

B. Gringsing Used as Ritual Costume The ritual costume is one of the most essential parts of the

ritual order. In its spiritual aspect, the sacred clothes used as ritual costume and worn by mankind functions as a tool to bring said person into a holy state of being before meeting the god. Within the clothing elements, Gringsing is a special woven textile among other textiles of Tenganan that is deemed to possess the highest protective quality and healing power that using it in some rituals is considered indispensable [4]. The sacred clothes are also used mainly to identify the members of diverse social groups in Tenganan Pagringsingan as they have distinctive uniform to attend every ritual. The groups that are being identified by the use of Gringsing in their uniform are (1) the association of married citizen (Kerama Desa) and (2) the youth association for boys and girls (Seka Teruna and Seka Daha). Through these social groups, the position, function and roles a person has in the complex ritual duties or its activities such as by birth, gender, or marital status can be clarified. The prescribed rules of the uniform are called ‘Pepatuhan’ and it is as strict as it is meant to display this identification for the social groups that directly involve in the preparation and participate in the ritual activity [7]. Firstly, the elements that construct a ritual costume for married women and unmarried women are inner cloth, outer hip-cloth (kamben), sash (sabuk), chest cloth (anteng), outer garment (saput), hairstyles (pusung), and gilded ornaments, jewelery or flowers. Secondly, for the married men and unmarried men, the rules concerning how to dress are less strict than for the married women or unmarried women. Their costume elements include outer hip-cloth (kamben), outer garment (saput), sash (sabuk), long tubular belt, (sabuk tubuhan), and dagger (keris).

Gringsing is used in these conditions to display the uniform: the size and the style of wearing according to the

ritual uniform. As shown in Figure 4, within the afore-mentioned ritual clothing elements, Gringsing is used as the chest cloth (anteng) and the outer garment (saput) for the female; the sash (sabuk), the long tubular belt (sabuk tubuhan) and the outer garment (saput) for the male.

Between the married and the girls at their simplest uniform, Gringsing of small size is used for the chest cloth (anteng) worn by girls, while Gringsing of larger sizes is used for the larger chest cloth (anteng lumbang) worn by the married women. For the married women another style of wearing the upper-cloth called ‘saput lumbang’ (Table 2, 1c) is mandatory, where they are obliged to drape this cloth down the back and over the buttocks. The girl that has come of age has larger roles in the activities of the festive rituals such as performing the sacred dances. During these festive rituals, they have to come in a complete uniform (Table 2, 2a) that will show their marital status, for in some ritual, the dance is also a media of interaction between the boys and girls who wish to be married. The ritual costumes for the males are not as diverse as for the females, as they don’t differentiate between the married and the unmarried ones.

Depending on the ritual occasion, Gringsing textiles are used in such forms (Table 2): 1.As chest cloth for the children who attend the hair-cutting

ritual (Ngetus Jambot). This is an important ritual that marks the change from infancy to childhood (3-5 y.o.). If it were a girl, she would be known as Daha Miyik (child-girl). On the hair-cutting ritual, a child will be garbed in sacred clothes such as Gringsing, combined with the other woven clothes.

2.In the collective ritual of the coming of age, the girls and boys (12-14 y.o) will wear the uniform composed of Gringsing textiles with other woven clothes. For the girls, their family will adorn their uniform with gilded accessories and a sksjjskjsk

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Table 2. The prescription of Gringsing textile according to the cultural settings (source: Author)

Journal of the Science of Design Vol. 2 No. 2 201896

Table 2. The prescription of Gringsing textile according to the cultural settings (source: Author) headdress consisted of gilded and fresh flowers. For the boys,their family will compliment them with a traditional sword.

3.The married couple and their main family are prescribed to wear Gringsing cloth on their wedding ceremony. For the bride and the mother the style of wearing Gringsing as the chest-cloth is different than the style worn by the single girls. And after, the bride will come down wearing Gringsing during the purification ritual and the ritual of cotton spinning (Ngantih).

4.In the grand ritual of the 5th month (Sasih Sambah), (1) Gringsing is worn to symbolize the cosmic unity and supposedly separate the ritual participants from the profane surroundings during the ritual dances (Rejang and Abuang sacred dances). The line dance called Rejang is a form of sacred dance that will be attended by girls who adorn their costume with the precious Gringsing Wayang Kebo. The style of wearing known as ‘Nyandang Kebo’ (Table 2, 2a) uses a specific Gringsing pattern called Wayang Kebo, which is the most intricate pattern known in Gringsing pattern designs. The piece of textile is worn in such a way so that one longer end of the cloth is resting over the shoulder. The dance participants, who are usually girls, would use both red hued (Barak) and dark hued (Selem) Gringsing. (2) On the fighting ritual (Mekare-kare), men and boys would wear Gringsing cloth as wrap-around cloth (saput) or to fasten the plain wrap-around cloth with the smaller size Gringsing to evoke the spirit of courage as well as protection.

5.Men who are chosen to lead the exorcism ritual called Memedi-median will wear Gringsing, in which men wear the complete costume composed of Gringsing (the long tubular belt and the wrap around cloth) with other woven textile (Figure 4, 7).

6.Gringsing is also used to cover the dead body of a person in the funeral ritual, before the person is buried. After the burial, the used Gringsing will be purified in a cleansing ritual so that it can be used again, or in most cases, being sold to the tourists. In a year, the spirit of the dead person will be invited into the realm of the living to attend a ceremony in an effigy wrapped in Gringsing textile.

6. Definition of visual representation: the relation between functions and design elements 6.1. Gringsing size and its designated function

The traditional designs of Gringsing textile are made for the purpose of fitting into the function. In the case of ritual costumes, the size varies, and additional decoration may be made according to the artisan. Traditionally, a woman is

expected to become a textile artisan. After a woman’s wedding, she would usually be expected to begin with preparing the creation of Gringsing cenik (small size) and patlikur (medium size) for the purpose of ritual offering (rantasan).

Small size Gringsing (cenik) with cut warp is used as chest cloth or ‘anteng’ (Figure 4, 1) and is usually having more feminine pattern design assigned to it such as: cemplong, cicempaka, teteledan, tali dandan and batun tuung (Table 3). Medium size Gringsing (patlikur) is used as larger chest cloth called ‘anteng lumbang’ (Figure 4, 2).

Some Gringsing are made in longer length or narrow width to accommodate the ritual clothing style. For the females, Gringsing of any Wayang patterns (Table 3) are especially made into scarfs or ‘kalung’ which is usually used as shoulder cover during ritual resting periods; and cloth decoration that drape over an outer garment called ‘lamak’ (Figure 4, 5) which usually worn for ritual dances.

Two medium sizes Gringsing or two large sizes Gringsing (petang dasa) of the same pattern can be sewn together to make ‘saput makembar’, means twin clothes (Figure 4, 6). ‘Saput’ is the wrapping garment that is worn over the inner wrapping garment for both male and female. For the male, in all ritual cloth, saput is worn at the hip-length, while for the female; it can be worn from the chest-length when she is not wearing the chest cloth (Figure 4, 6).

Special sized Gringsing is used especially for men as the tubular belt or ‘sabuk tubuhan’, and the long tubular belt, or ‘cawet’. Sabuk tubuhan is a narrow tubular cloth, when cut it reaches up to 3 meters in length. The tubular form is worn in the style called ‘Metangkon’ (Figure 4, 7). The style is a form of fastening belt with the half of the knotted part creating a loop and being pulled over the head to be left dangling down the neck. According to the artisans, the patterns that are mostly applied to the sabuk tubuhan are masculine pattern such as: dinding ai/batun cagi, injekan siap, cemplong memedi, waton, and sitan pegat (Table 3). 6.2. Aesthetical elements presented in Gringsing design layout

Generally, the pattern composition of Gringsing is presented in a fixed design layout consisting four main parts (Figure 3)[8]. These four parts are consisted of the two edges and side borders (A), the sign of ritual use (B), the additional decorative pattern (C) and the overall pattern design (D).

Both edges and side borders of Gringsing are composed of the tricolored stripes (white, red, black) called Penekek (or to fasten). These stripes are what make the outer frame of Gringsing textile. The side border is usually 1 cm in width, while the loose ends often tied in knots.

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Pattern arrangement is known to be the crucial part of the design itself that may tell the observer what values that a textile is upholding. Each of the motifs found within one single pattern design might have specific name that once might be used to conveying the meanings, properness, or specific occasion. In Gringsing design layout, the particular design component signifies the properness to be used as sacred ritual article, is produced in the design field called ‘Kepala’ (or head-part) (Figure 5, A, B).

To adopt a term used in Batik, this one-dimensional bar-like design is referred to as the ‘Tumpal’, the design that represents night and day, the mutual dualism that considered as a sacred symbol. In Gringsing, the design of head-part is specifically visualizing the term ‘sacred’ and ‘protection’ as well as ‘barricade of the world’ (Figure 5, B) which is suggested by the individual motifs that are arranged in bands and composed to ‘guard’ both of the textile’s head sides. These bands are various in styles, giving special characteristic to the pattern as well as signifying the eligibility to be used in religious rituals.

The motifs that embellish the sacred band may consist of; 1. Gigin Barong (the triangle motif resembling canine tooth,

means ‘Dragon Teeth’). 2. Tambang and Wewaluhan (bicolored cross pattern made

from assembling four spear-head patterns and tricolored flower pattern)

3. Telupuh (the especially sacred motif denoting the ritual usage, the small four-pointed star. Gringsing made without one is not eligible to be used in rituals)

Some older motifs that may be made to frame or to make additional decoration (Figure 5, C) on the design composition consist of: 1. Tumbak Barak (the motif of spear edge and leaf) 2. Tumbak Gunung (mountain-like motif that is composed by

little triangles) 3. Jali-Jali (red cross motifs in a white band)

Gringsing artisans construct the overall pattern design of Gringsing by applying symmetrical directions [11][12] (glide, reflection or rotation) onto a basic motif and assembling them in symmetrical rows. These basic motifs could then be combined to create a single pattern composition. According to pattern composition that is placed in one piece of cloth, Gringsing can be classified as follow [7]:

1. Single pattern composition 2. Double pattern composition: Masemayut 3. Multiple/repeating pattern composition: Prembon

Based on the decorative elements presented in the overall pattern design, it can be classified into the non-specialized and the specialized pattern design. The classification is based on the display of the 4-pointed star (also known as ‘Panggal Asu’)[7] that is considered as the symbol of the community and the village. According to the artisans and the village scholars (N.Sdr-M/67, K.S-M/49, W.S-M/47) the patterns that display a clear 4-pointed star pattern are traditionally considered to be the most sacred as they are also aesthetically pleasing due to their perfect symmetrical arrangement. Therefore, the patterns

Figure 5. Half portion of pattern arrangement (single pattern

design, pattern name: Batun Tuung) (source: Author)

Figure 6. The motifs that are used in the sign of ritual use (B)

(source: Author)

1. Gigin Barong

2. Tambang and Wewaluhan

3. Tricolored and bicolored Telupuh

Figure 5. Additional Decorative Pattern (C)

(source: Author)

1. Tumbak and Tambang Barak

2. Tumbak Gunung

3. Jali-Jali

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with clear display of the 4-pointed stars are classified into the specialized pattern designs (Pat Likur Isi, Wayang Kebo, Wayang Putri, Wayang Candi, Wayang Putri Dedari, Wayang Mesila, Lubeng and Lubeng Luhur) while the ones without are classified into the non-specialized designs. From the same source, it is also pointed out that a strict attention is given to denote the feminine or the masculine patterns, associating the textile further to who would wear it. The patterns that are considered feminine or masculine in the older days might be associated to the type of ritual where Gringsing is being used, or denoting the local philosophy that existed within the community. However, nowadays, the strict attention towards the pattern is not put into practice due to the lack of inheriting the knowledge.

Finally, the design layout called Sanan Empeg, which only be used for the ritual offering, is a special format that is made by putting the pattern Sridatu to divide two spaces that will be filled with one single pattern design, and enclose them at both edge before the sign of ritual use. The format Sanan Empeg

(160 x 20 cm) is used as offering in rituals such as wedding ceremony, the hair-cutting ritual for infants, or cleansing ritual in a family. It may also be used as the wrap for any sanctified items. ‘sanan empeg’ literally means ‘breaking rod’ and coins a tale of fragile situation of a middle child whose elder and younger siblings died. From its philosophy, it can be concluded that such fragile situation would mostly appear during the stages of growth (from infancy to adolescence to adulthood), thus the textile offering is made special during the rituals of this critical moments. The Sridatu pattern in Sanan Empeg is usually paired with checkered style single patterns such as; Kotak Gambir, Sitan Pegat, Dinding Ai or Batun Cagi (Table 3). 6.3. Color Interpretation in Gringsing

The color becomes a necessity in symbolizing the spiritual elements as its relationship to the divine. The mixture of the many local philosophies had made the tradition rich in manifesting philosophical meanings through color display. The textile Gringsing is dyed in three colors of red, blue-black

Table 3. The Patterns of Grinsing Classified Based On Their Design And Hue (source: Author)

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and ivory white known in the local tongue as ‘Tridatu’ or ‘Sridatu’. To the Indra-Hindu people of Tenganan Pagringsingan, those Geringsing textile which display the three colors of red, black and white are to represent the worship to the Three Divinity (Tri Murti); the gods Brahma, Vishnu and Siva while those which display the two colors of black and white are to signify the existing Mutual Dualism (Rwa Bhineda) that make up the universe. Rwa Bhineda in other word, is the view of two opposite thing that depend on each other to exist such as day and night, up and down, male and female, etc. As believed by the people and their Balinese counterparts, the balance of this mutual dualism would bring prosperity and peacefulness to the mankind. Tridatu, the colors that compose both kinds, are itself representing the unity of fundamental elements of life that are fire (red), air (ivory white) and water (blue-black) as well as symbolizing the cycle of birth, life and death.

7. Design and ApplicationBy performing an in-depth study on the culture of Gringsing

textile in the spiritual community of Tenganan Pagringsingan, it clarified a certain position of the textile-work itself as a cultural symbol that appears to record and story-tell the day-to-day symbiotic relationships performed by the people. The culture has influenced the function and the design and as such creating a product that reflects highly of the cultural identity. The motifs can also be designed to contain information such as gender preference, ritual type, and many other sources of inspiration. The cultural knowledge that is reflected in the design can inspire authentic designs for many communities that produce artefact, boosting their local productivity as well as the sustainability for their identity and avoid cultural appropriation.

8. ConclusionAs the effort to trigger the re-identification and the passing

down of the knowledge recorded in Gringsing-making culture, through the course of research into the cultural settings such as the function, the design and the meaning of Gringsing textile related to its ritual context, it can be concluded that (1) through the ritual usage, the physical form of the textile could become exceptionally diverse. (2) The strict customs is therefore translated into the language of colors, size and pattern design. (3) Gringsing represents much of the communal identity andbecomes the carrier of meaning for its local symbolism.

The later part is also expressed greatly in the culture of production process where it employs not only hard work but also meticulous procedures and codes of conduct. The research

that will be composed in the next article discovers how the making process of Gringsing could symbolize the expression of the spiritual journey that is clarified in the perception of built-environment, spatial arrangement and in the architecture of dwelling.

Finally, by clarifying these cultural properties of Gringsing, the cultural values could be re-recognized and re-instituted in the later development of this traditional artifact.

9. References1. Francais-Simbuerger, A. (1988) “Politics of the Center in

Bali's Cultural Periphery: Transformations of Power in anOld-Balinese “Village Mandala”, City University of New York.

2. Covarrubias, M (1937). Island of Bali, pp 9-30, 101-130,Berkeley Books Pte. Ltd

3. Ramseyer, U. (1991). Geringsing: Magical protection andcommunal identity, Balinese Textiles, pp. 116-135, BritishMuseum Press, London

4. Ramseter, U (1984). Clothing, Ritual and Society inTenganan Pagringsingan, pp. 206-237, NaturforschendenGesellschaft

5. Yoshimoto, Sh (1996). Shirarezaru Indo Sarasa, KyotoShoin.

6. Coleman, H and Hann, M.A (2008). Patterns of Culture:The Textile of Bali and Nusa Tenggara, pp 9 - 40,University of Leeds Press.

7. Based on oral interviews with members of Kelihan Adat(Village Council), Kerama Desa, Gringsing artisans andvillage scholars.

8. Gurcum, B.H., & Arslan, P. (2015) The Importance of Ethnographic Research in Textile Design. IJASOS-International E-Journal of Advances in Social Sciences, Vol.1, Issue 3, pp.470-480, doi:10.18769/ijasos.08521

9. Meong, J.S, Cassidy, T, Moore, E.M. (2015). DesignReinvention for Culturally Influenced Textile Products:Focused on Traditional Korean Bojagi Textiles. The Journal of Design, Creative Process and the Fashion Industry, Vol. 7, Issue 2: Korean Fashion, pp. 175-198.

10. Britt, H. (2012). “The Art of Textile Design Research:Educator Approaches to Creative Practice the Art ofResearch”. The Art of Research IV. Finland.

11. Crowe, Donald W. (1988). Symmetries of Culture: Theoryand Practice of Plane Pattern Analysis, pp. 69-70, 82-164,University of Washington Press.

12. Washburn, Dorothy K. (1986). Pattern Symmetry andColored Repetition in Cultural Contexts, pp. 767-781,Rochester, USA. Pergamon Press Ltd.

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