[IEEE 2011 IEEE Colloquium on Humanities, Science and Engineering (CHUSER) - Penang, Malaysia...

Design Motive and Pattern in Screwpine and Pandan Plaiting from Peninsular Malaysia

Noor Hafiza Ismail and Assoc. Prof. Dr Norwani Md Nawawi Faculty of Art & Design, Universiti Teknologi MARA, UiTM, Shah Alam, Malaysia Faculty of Art & Design, Universiti Teknologi MARA, UiTM, Shah Alam, Malaysia

[email protected] [email protected]

Abstract—Plaiting is one of the crafts that has been passed down from generation to generation in Malay culture and this art brings awareness to anyone for the aesthetic value that it possesses. This craft started since the age of Neolithic but it keeps evolving through time due to the increasing demands and the element of creativity that the individuals who do it. However, despite of the fact that the demand for the plaiting crafts is high, it does not mean that we do not need to preserve this valuable treasure from vanishing through the rapid flow of modernization. Continuous effort must be carried out in order to ensure that the youths of today are still able to appreciate the fineness of this art that is originated from their ancestors which money cannot value. The effort put by the precious generations has brought our nation to the eyes of the world which we are known for this art by the world community. This art is also a form of identity to our nation which is very unique and authentic. The skill of plaiting is passed down or taught informally in order to avoid it from becoming extinct by time. In order to obtain accurate information, the researcher carried out interview sessions with some of the people who involved with the plaiting skill directly and indirectly at the Kuala Lumpur Craft Centre and other branches in Terengganu, Kedah and Melaka. The interview sessions for the respective states are vital for the research in trying to identify the types of motive and patterns that have been chosen for the plaiting if screwpine (mengkuang) and pandan (pandanus) can be found in these three states. This research would lead to discover new method of plaiting or develop into contemporary design for screwpine and pandan products for commercialization. (Abstract)

Keywords-screwpine; pandan; motive; pattern; peninsular malaysia (key words)

I. INTRODUCTION (HEADING 1) Plaiting is one of the unique National heritages due to wide

range of print interpretation as well as interesting designs. It is followed by the use of colors that make any kind of plaiting product looks more beautiful and pertinent. Apart from that, to design a plaited product, one should be very careful and needs to do it with a very endless effort. This is because plaiting is very time consuming especially when it comes to design customers’ current demand. Therefore, the process of making plaited products is very complicated; one needs to be skillful, diligent and creative. Plaiting industry has revolved through many eras. It evolves from generation to generation until now

it is still in the league, still be able to fulfill the current need. Changes are made to meet the present demand as a way in making sure that plaiting will always be remembered by today’s younger generations. It includes product of screwpine and pandan at the Malaysia craft exhibition from all over the world. Nowadays even though Batik is more well-known, plaiting heritage has its own potential and is still running because it is one of the income sources for most rural society since the old days. Single parents, old folks and people from middle class society were the one who ran the job. Today, government has made drastic move in promoting the industry to become one of the popular sources of income especially to those in rural Sabah. By the way, pricing of the products should be affordable for middle income and higher income market. In fact, the government has also provided workshops and courses such as handcraft plaiting skill workshops to teach people on how to make plaited product for those who are interested with the heritage. The workshops are also to initiate creativity, quality of work and distinctive features of art through the beautiful and fine creation of the product that meets the current market to attract more people to love plaiting and also to become their customers.

During the old days, villagers used plaiting products in their daily basis. Those products were like food cover, praying mat and plate mat. But, the current changes make them less interested by the youngsters. As a result, more and more young generation are no more interested with the heritage due to the advanced technology which can simply produce the same products which are durable made from plastic compared to the traditional products which are handmade from screwpine and pandan leaves [4]. Plans and approaches need to be made in order to preserve the industry and to make it at par with other popular sectors specifically to those who involved in the industry. All parties from government and NGO have to be sensitive with current environment in order to develop new ideas in production by involving new technique using art and technology. Nonetheless, all parties involved must play their parts to achieve the target they want by following the current need within today’s society. Without certain effort, all targets will not work effectively and accordingly. What matters the most is there is a need of self awareness within each and every one in evaluating the importance of preserving our heritage so as it will be known, and can still be used and seen by the future generations.

2011 IEEE Colloquium on Humanities, Science and Engineering Research (CHUSER 2011), Dec 5-6 2011, Penang

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Plaiting can be seen in many parts of states all over Peninsular Malaysia, Sabah and Sarawak. However, Sarawak and Sabah plait are not the same as in Peninsular Malaysia. This is due to the differences in the form creation, print and colors. Nonetheless, the print that is simple and common resembles the one that can be seen in peninsular Malaysia. In fact, what makes plaiting from each state distinct from one another is simply from names and style of prints. The variation in prints makes the plaiting looks more interesting and thus, it shows the diversity represented by different states in Malaysia.

As time goes by, today’s community has lost the true arts of plaiting due to the birth of new plaiting techniques which are made from plastic. It becomes popular because it is more durable compared to plaiting that uses hand skill technique. So, efforts have to be made in order to make sure traditional plaiting skills are still practiced and passed unto next generation so it is not be easily forgotten. As by doing so, it can preserve our heritage which is facing a great transformation. All continuous actions have to be concerned so the younger generation can appreciate the older generation’s heritage. This research focuses on three states which screwpine and pandan plaiting are actively maintaining their momentum. Those states are Terengganu, Kedah and Melaka. This research is made through observations. It is simply done by observing subject’s hand work and by interviewing plaiter in obtaining accurate and precise information and results. A sample has been taken from each state and a specific research has been conducted in two different places from different entrepreneurs to get clearer and more correct information based on the sample taken. By gathering all the samples, hopefully it is easier to differentiate plaiting in every state researched.

Motive is the result of duplication small images that are arranged in well-ordered on a structural basic. These recurrent of images or motive will lead to the production of a pattern. This motive can be seen in various works that adorn the handmade of the design surface to create an interesting pattern such as craft plaiting, weaving, carving and embroidery. It also has its own interpretation from the craftsmen’s environment experience. Ismail Ibrahim (1986) states that motive is also classified as the theme, while patterns are visual elements which are arranged in a manner that they cover the same area as that of motive form [2]. The most appropriate description for pattern is motive arrangements. When motive is arranged in single unit repeats, it can be called as spot repeats. Motive that is arranged in rows are called repeated stripe [3]. Motive is something that is related to pattern in a design. The different of basic unit will get from the arrangement of the basic unit, cell or original pattern (model) is repeated and it is referred to as a motive. Every unit in design that is called motive will be connected to all units in design until it produces repeated form of pattern [6]. These designs form simpler and less sophisticated patterns which have been developed into various kinds of motive. The kelarai or pattern that is used in plaiting is traditional and hitherto in which they have not undergone transformation or modification [8].

Figure 1: Example of Kelarai plaiting.

The art of plaiting is something that cannot be detached

from the traditional ways of life in Nusantara communities. From the mat to the wall, decoration homes, work environment, the plaiting can be seen everywhere. This is not surprising because many tropical plants are made of suitable material for plaiting. Overall, the basic skill in the art of plaiting is not much different, just depending on the type of plants used for plaiting material. This is because raw materials for plaiting activities do not only consist of screwpine and pandan, but is divided into several materials that can be used such as bamboo, rattan, stick, pohon bemban, daun sal and kercut. The young generation nowadays should be given guidance as well as exposure on the art of weaving ranging from plaiting and handicraft. This is for the purpose of upholding this art for years to come as in view of modern times, more high-tech machine plait which is faster than traditional weaving. This art is considered as a heritage craft that needs to be supported not just for its esthetical value but also for its substantial contribution for the socio-economic development in the industry. At first, it started as a cottage industry and these traditional art skills used a lot of forest materials which could become a bigger industry. The art of traditional skills has grown into one of the art communities to help the villagers to improve their family economic resources. Art is also identified as the unique culture of Malay society. It also reflects the village community of creative thinkers in the production of design patterns using natural color [1].


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Figure 2 : Example of pandanus trees that are growing in coastal area.

In Art and Craft, it proves to be challenging to find skilled

artisan in each of the respective arts to teach their skills to the younger generation in order to preserve the plaiting heritage. Without the efforts of reviving the Malaysia traditional craft, it would exist before it could be in heritage by future generation [5]. Therefore, the love for art and craft should be inculcated among the young generation as to gain interest in the craft and art traditional. Strong strategies and programs should be organized to ensure continuous preservation in craft and traditional art. This is because in the technologies age, the plaited mat in Malaysia will lose their perseverance traits and skills as plaited mat of plastic are more readily available than woven mats and hats since young generations are interested in that type of plaiting since their childhood. They also learned the fundamentals process of preparation of plaiting before producing any types of plaiting. Plaiting process also requires patience and persistence of high and relatively trivial. This is one of the reasons many young people nowadays are not interested and refuse to learn how to plait using screwpine and pandan [7].

The art of screwpine and pandan plaiting is one of the oldest Malay handicrafts that mature over time. However, screwpine and pandan plaiting do not have high market demand as shared by batik and songket today. The lack of support from related authorities has impeded the progress of the existing art of plaiting to be at par with batik, songket and other traditional handicrafts that changes over time due to volatile nature of local and international market demand. Consequently, the society could not even identify the differences in plaiting techniques, motive and plaiting patterns as well as the quality of pandan leave. The apparent problem for this research is identified as scarcity of related, necessary documentation has led the society to be unfamiliar with the unique types of plaiting in several states in Malaysia. In order to preserve the art craft, efforts should be done to find the talented people to transfer the knowledge and skills to the young generation. If not, the traditional Malaysian craft will be extinct soon. Besides that, Traditional Malay handicraft should be publicized to the young generation as early as primary scholars to educate them on our Malay heritage. Creating awareness among new generation will ensure their understanding and appreciation of local traditional handicrafts. This problem proved to be critical as the local plaiting art is moving towards extinction if there is no action taken to preserve it. Government and non government organization

(NGO) should be urged to preserve the art craft by finding the particular experts to educate the young generation about the art skills. The love of art should be inculcated among them. If not, this valuable art will slowly diminish from our heritage.

The aim of this research is to investigate the motive, pattern and inspiration that include methods and process to produce different types of plaiting in Malaysia peninsular. Objective of the research is to study the process of plaited production by using raw material. Secondly, the study aims to differentiate the motive and pattern within region in Malaysian Peninsular. Through this objective, the researcher is able to identify clearly the steps in the process of producing the plaited products which govern the aspects of the variety of the motive and the patterns whether they are modern patterns or traditional ones. Furthermore, this process will enable the researcher to see whether there are similarities in terms of name, motive, patterns or even the process in producing the plaited spread.

From this research, the writer really hopes that it will gain benefits and provide more knowledge to the younger generation about their ancestor’s plaiting heritage. Moreover, it is hopefully one of the ways to teach today’s generation the importance in preserving and protecting the heritage. Without any effort, the plaiting skill will be lost in time, and maybe we will be losing our cultural identity. The writer also hopes that this research will provide good guidance to other researchers, handcraft centers, museum and community for future use. The reason is because plaiting has its own ecstatic values with is unique through writer’s point of view. It also portrays the qualities of certain races that can only be known in the eyes of the world through the works of arts they own and preserve even though many barriers they have to face and overcome in their efforts to preserve national heritage.

Sample of image plaiting

Figure 3: Kelarai Berdiri is obtained from Terengganu craft center.

The figure 3 above shows one of the examples of “kelarai” plaiting which can be widely found in Terengganu. This type of plaiting consists of three style of plaiting namely regular plaiting, “tudung saji” (food cover) plaiting and “terendak” plaiting. The kelarai plaiting normally uses a lot element of nature as the motive like animals, insects and other nature components. In Terengganu, there are two types of motive of kelarai plaiting that are produced which are the


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plants motive and abstract motive. The researcher interviewed Kalsom Abdullah who is still practicing kelarai plaiting who is now working for Terengganu Craft Centre for more than 36 six years. She mentioned that there are 45 motives that are used in kelarai plaiting in Terengganu. The most motives used are plants and abstract motives that can be found in that state. The motives used are as following:

i) Kelarai with plants motives

Kelarai bunga api Kelarai bunga ator Kelarai bunga beremban Kelarai bunga cempaka Kelarai bunga cengkih Kelarai bunga cina Kelarai bunga durian Kelarai bunga gedong Kelarai bunga melor Kelarai bunga mempelas Kelarai bunga tanjung Kelarai pucuk jala Kelarai pucuk rebung Kelarai tampok manggis Kelarai tampok pinang

ii) Kelarai with abstract motives

Kelarai belah ketupat Kelarai berakar Kelarai beras patah Kelarai berdiri Kelarai berhati Kelarai berhati berkaki Kelarai cengkih beranak Kelarai gelong paku Kelarai kisar mengiri Kelarai madu manis Kelarai mata berkait Kelarai pecah lapan Kelarai sambas Kelarai sambas di dalam Kelarai siku keluang Kelarai sisik kelah Kelarai tampok jantung Kelarai tampok pinang berantai

iii) Kelarai with animals motives

Kelarai anak ikan Kelarai buntut siput Kelarai jari kedidi Kelarai kepala gajah Kelarai kepala lalat Kelarai mata ketitir Kelarai tapak anjing Kelarai tapak harimau

iv) Kelarai with people’s name motives

Kelarai cik kedah berakar Kelarai cik kedah bersila Kelarai cik kedah ketapang Kelarai mak mek

The example of the plaiting that can be found in Kedah which are used to plait a mat can be seen in figure 4. On the mat, there is a motive of an elephant that is carrying food on its body. The use of elephant as the motive is to suit the image that an elephant portrays as strong and at the same time it can be made as a pet that is able to understand orders from its owner and serve his owner accordingly. In normal occasion, the service that an elephant provides is of course to carry heavy things.

Figure 4: Mat Screw pine plaiting using elephant motive.

Meanwhile, the image below shows a plaiting that commonly found in Melaka. Even though Melaka is known for its mob plaiting, but there are certain people who use screwpine and pandan in their plaiting. The plaiting in Melaka is observed to use more abstract motive and the most common one is the hexagon shape that can be found on “kelarai anyaman gila”. This type of plaiting is the hardest to make since this type of plaiting uses thicker cover because it is plaited three layers which every plait it will be repeated to the back until three layers of plait are produced.

Figure 5: Examples of rombong plaiting and food cover which are famous in Malacca.

II. METHODOLOGY In order to obtain accurate and precise data gathering, the

qualitative method was applied. All information attained from the study were collected and analyzed based on the objectives of the study. Further explanations on the method used in data collection are explained as below:

A. Primary Data i. Interview was conducted to select plaiting in

obtaining related information of plaiting motive.


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ii. Observation was conducted and particular were documents were collected on the production of screwpine and pandan plaiting.

B. Secondary Data i.To support the information acquired from primary

data, the facts from both sources were obtained from the printed information such as books, journals, news paper, magazines and encyclopaedia.

ii.Previous research was utilized for references. iii.Information was obtained from related articles and

associated research with screwpine and pandan plaiting.

Figure 6: Flow chart of the research methodology

C. Research Design

Due to the fact that this research requires a lot of detailed information, the researcher has decided to carry out the research with qualitative method. This method enabled the researcher to obtain the necessary information accurately, quickly and concisely. This method is very suitable with this research that requires a lot of processing information pertaining to the subject of the research. According to Thomas (2003), he states that qualitative research involves a researcher describing kinds of characteristics of people and events without comparing events in terms of measurements or amounts. The application of this method is very suitable with this type of research since it is a multi-method in focus that involves the natural approach towards subject matter. Through this method, the research used a lot of main devices in gathering the information that are necessary in this research that includes case study, personal experience as well as historical study. Hence, the information that is related to motives and patterns for each state were identified and analysed based on the method used.

D. Case study

This study intended to identify design motive and pattern in screwpine and pandan plaiting in Terengganu, Kedah and

Melaka. This study also examined whether that is any differences from motive name’s and pattern design plaiting in those states. In order to identify all the related details in the research that was carried out, case study is a method to extract the information that has been obtained in a more detail and clear way. In this case study, the research was divided into a few small aspects that are involved in this research either from personal angle or group or even organization. In this research too, the researcher has identified the best way to be used in order to obtain the related information. Other than that, interview was carried out at craft complexes in Kuala Lumpur, Terengganu, Kedah and Melaka, the plaiters and anyone that is involved with the plaiting activity of screwpine and pandan, directly or indirectly.

E. Experience narratives

This method refers to something that is said or described by someone that is involved directly in certain activity or in the research that is carried out. It is more to the stories that are told by the people who have the experience with the plaiting activity from all aspects and this information were recorded to be put together with other necessary information. In this study, all the information regarding the experiences of the plaiters from all three states was first recoded separately in ensuring that the data can be later analysed properly. The experiences that the plaiters shared can be a very good testimonial in making the research becomes more reliable. Other than that, this is to find out more clearly about the activities related to plaiting among the people from all three states that has been determined in the research before the information is recorded and produced in this research.

F. Observation

This method was required in the process of gathering information related to plaiting of screwpine and pandan can be sorted out properly after all the information was gathered. A very careful observation is very important in this research for the researcher to find out about the processes in producing the plaiting products as early as from collecting the screwpine and pandan leaves until the products are ready to be sold. The observation method was divided into two types which are direct observation and mediated observation. From the direct perspective, the researcher see and hear whatever that happened throughout the observation [9]. As regard to this study, the researcher observed, looked, heard and gathered all the information that are related to the plaiters, the plaiting products or anything at all that happened during the plaiting activities were carried out. Meanwhile, the mediated observation method is a process whereby the researcher did the observation on the recorded materials for instance, doing audio and video recording.

G. Interviews

The researcher carried out this method by interviewing the plaiters to obtain more information about the plaiting activities in the three respective states that have been chosen. The


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interview sessions also involved the forms that have been prepared in order to complement the information obtained. Any interview sessions were recorded in detail for the information to be compared between the three states. Apart from that, video recordings were also used as effective method in evaluating the processes whether there is any better techniques related to plaiting can be observed throughout the observation.

III. RESULT AND DISCUSSION The result of this research is expected to provide useful

information for the National Craft Centre in particular, apart from enriching the researcher’s information and providing more information for school and other educational institution and plaiting enthusiasts. Therefore, this research is believed to bring benefits to a lot of people either they are involved in the plaiting activity directly or indirectly in the effort of preserving this valuable heritage of our nation so that it will be continuously expanded. This research is vital in providing updated and complete information about the types of motive and the patterns of the plaiting that exist in Terengganu, Kedah and Melaka which the states that the researcher included in the research. From this research, the researcher is able to compare and contrast the style of plaiting in the three respective states. Consequently, the public are able to know more about the types of the plaiting that can be found in Peninsular Malaysia. This is due to the fact that apart from screwpine and pandan leaves plaiting, there are other plaiting styles that use rattan, bamboo, “ribu-ribu”(fern) and “bemban”. The information gathered in this research will facilitate the people who are interested in plaiting to identify the types of plaiting that most of them look quite similar. This research will also provide precise information about the processes involved in the production of the plaiting products and they can also use the information for themselves to practice doing plait for personal use. The production of vibrant and colourful products of plaiting is the result of creative mind from the plaiters themselves. The colours also play an important role in showing the identity of the plaiting products for each state that ranges from traditional colours to modern colours. The plaiting products of every state is different too because the plaiting is very much influenced by the surrounding. The motives are usually relating with the environment of the states. Last but not least, this research brings good impact to the local community and further reminds them about the importance of preserving the Malay heritage as outstanding as other heritage in the world.

IV. CONCLUSION The conservation of the plaiting skill in our community

must be done so that it will not be swallowed by the fast movie age. Even with the presence of the technology, we must always be reminded that the heritage in our culture is our identity and it should remain so. Continuous effort must be put so that we can always move forward without losing our identity. The products of plaiting is a symbol of how creative the previous generations are in producing products for their daily use and the products are high in quality and it has become nation’s pride until today. This shows that the plaiting activity is something beneficial that the fineness of the products is still appreciated until today. The plaiting activity is also able to help the rural community to gain extra income apart from reliving the glorious age of this Malay ancient art to the eyes of the world. The motives and the patterns embedded in the plaiting products of screwpine and pandan leaves are our identity and through this medium, the world will be able to know the story about our community. Each state in our country has their own motives that are very special to them but of course from plain sight, we will not be able to know the real story. The purpose of this research is parallel to the shift of paradigm in trying to captivate the youths’ interest to appreciate the heritage that has been passed from generation to generation.

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22, 2010. http://www.bernama.com (accessed January 2011, 2010). [2] Ibrahim, Ismail. Warisan Motif & Corak Etnik Sabah. Sabah: Universiti

Malaysia Sabah, 2007. [3] Ismail, Siti Zainon. The Traditional Malay Handicraft Design. Kuala

Lumpur: Dewan Bahasa & Pustaka, 1997. [4] Malaysia, Pertubuhan Berita Nasional. Bidang Anyaman Boleh

Dikomersilkan Sehingga Peringkat Antarabangsa. June 29, 2009. http://www.bernama.com (accessed January 26, 2011).

[5] —. Kraf Tradisional M'sia Perlu Dipelihara. May 26, 2006. Http://www.bernama.com (accessed February 11, 2011).

[6] Otto G. Ocvirk, Robert E. Stinson, Philip R. Wigg, Robert O. Bone, David L. Cayton. Art Fundamental :Theory and Practice. New York: McGraw-Hill, 2009.

[7] Sharifuddin, Raja Luvena. Pakar Seni Traditional Perlu Didik Generasi Muda. May 27, 2006. http://www.utusan.com.my (accessed Mac 15, 2011).

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