Development of Weaving Craft Motif Designs as a Diversification

Attempt for Nias Local Souvenir Products

Kezia Clarissa Langi

, Dian Widiawati

, Setiawan Sabana

and Tusita Mettadevi Jayamangalani Suprapto

Doctoral Program of Art and Design, Bandung Institute of Technology, Ganesha Street No. 10, Bandung, Indonesia

Faculty of Art and Design, Bandung Institute of Technology, Ganesha Street No. 10, Bandung 40132, Indonesia

Keywords: Craft Industry, Motif, Nias Traditional Weaving, Product Development.

Abstract: This paper presents initial findings from an ongoing research project that explores possibilities for Nias

traditional weaving motif exploration. One of Nias hidden local wisdom is the culture of Nias women and

their weaving activities. Traditionally, Nias weaving is divided into three types of weaving, Nila’e-lae (plain

weaving), Nisora (combination of several motifs with colors), and Ni’otarawa (see-through weaving).

Although the technique of traditional Nias weaving is local knowledge, the exploration of the traditional

motifs is limited. This study proposes to develop woven design innovation so that it can be used as a

reference in forming products that can be resold by the community as Nias local souvenirs. This research

uses a visual ethnographic approach. The data collection stage was carried out by collecting references on

weaves, materials, including small and medium industry issues regarding the manufacture and function of

Nias traditional weaving in Gunungsitoli. At this stage, an analysis of the results of the information is

carried out, which becomes the basis for the exploration of woven designs. Next, this paper presents four

new product design manual with efficient working techniques. The current study can contribute to

uncovering the hidden potential of Nias traditional weaving for sustainable craft design.

https://orcid.org/0000-0002-4668-3834

https://orcid.org/0000-0003-3286-3719

https://orcid.org/0000-0003-4028-3183

https://orcid.org/0000-0002-0122-6488

1 INTRODUCTION

This study focuses on exploring Nias traditional

woven craft design as a diversification attempt for

souvenir products. Traditional craft is a

representation of how humans interact with their

surroundings in historical, cultural, and social

contexts (Tung, 2012). Traditional craft reflects a

civilization that improves the culture’s knowledge,

technique, pattern, material, and color. Preserving

and promoting traditional crafts is a way to sustain

tradition while improving economic income

(Elomba & Yun, 2018).

According to the Indonesian Agency for Creative

Economy & Central Board of Statistics (Badan

Ekonomi Kreatif & Badan Pusat Statistik, 2017)

traditional craft contributed to 15,70% of the total

contribution of the creative industry sectors.

Traditional craft industries that produce souvenir

products have a higher opportunity to attract local

and global markets through the tourism industry

(Zulaikha & Brereton, 2011).

Domestic and international tourist travels to Nias

in order to experience the cultural and natural

tourism destination. Nias is known for its stone

jumping activity and surfing spot (Langi et al.,

2019). Souvenirs are tangible, sentimental, and often

cherished objects that are reminders of a memorable

experience of a destination (Swanson & Timothy,

2012). Before heading back to their place of origin,

tourists tend to bought local souvenirs as a memory.

Previous research by Littrell et al. (1993)

categorizes the criteria used by tourists to define the

authenticity of a local souvenir. The category

included a craft’s uniqueness, workmanship,

aesthetics and use, cultural and historical integrity,

and genuineness.

294

Langi, K., Widiawati, D., Sabana, S. and Suprapto, T.

Development of Weaving Craft Motif Designs as a Diversiﬁcation Attempt for Nias Local Souvenir Products.

DOI: 10.5220/0010751100003112

In Proceedings of the 1st International Conference on Emerging Issues in Humanity Studies and Social Sciences (ICE-HUMS 2021), pages 294-299

ISBN: 978-989-758-604-0

In addition, Paraskevaidis & Andriotis (2015)

conclude that the value of souvenirs as a commodity

is use-value, exchange-value, sign-value, and

spiritual-value.

The products of the weaving technique in Nias

are mats and bolanafo. This study is based on Nias

traditional see-through weaving called Ni’otarawa in

bolanafo and Nisora, weaving with a combination of

several motifs with colors). The word bolanafo is

formed from the words bola and afo. Bola means

‘place’ and afo means five ingredients consisting of

betel leaf (tawuo), lime betel powder (betua),

gambier leaf (gambe), tobacco (bago), and areca nut

(fino) (Telaumbanua, 2019; D. Waoma, personal

communication, April 28, 2021). Bolanafo means

kampih betel, or a place to store betel.

Bolanafo is often used at welcoming ceremonies

or weddings. Presenting afo in Bolanafo for Nias

culture shows a piety attitude because it presents

something not directly, but with a container (Harefa

& Ginting, 2018). Bolanafo itself has become one of

the 96 new Intangible Inheritances established and

announced by the government through the Ministry

of Education and Culture (Kemendikbud)

(Direktorat Warisan dan Diplomasi Budaya, 2011).

This fact shows how important the process of

weaving is to become a traditional legacy from Nias

and the sustainability to preserve it.

Weaving techniques should be a skill that is

passed on to the younger generation, but with a shift

in cultural values, weaving tools and techniques are

slowly disappearing. The extensive weaving process

makes woven products less desirable. In particular,

the profile of bolanafo, which is part of Indonesia's

Tangible Heritage, if its existence and preservation

are not carried out, this recognition can be revoked.

Weaving traditional Nias products need to be

developed visually, by design, and by necessity.

This fact provides an opportunity for this research

with the benefit of being a souvenir or typical Nias

souvenir made by the Nias Small and Medium

Industry.

2 METHODS (AND MATERIALS)

This study proposes to develop woven design

innovation so that it can be used as a reference in

forming products that can be resold by the

community as Nias local souvenirs.

This research aims to provide answers to the

following questions:

a. How to explore or develop a woven structure

that departs from local potential, specifically

the Nias woven design to produce a diverse

and attractive appearance?

b. How to apply the results of the development

of the woven design into the design of Nias

souvenirs or souvenirs that can attract market

interest?

To answer these questions, this research uses a

literature review and visual exploration. This

research collaborates with Nias Heritage and

Empowerment Foundation (Yayasan Badan

Pemberdayaan dan Warisan Nias). Online interview

to collect references on traditional weaving,

materials, and small and medium industry issues

regarding the manufacture and function of Bolanafo.

Literature review was done by collecting research

articles regarding the Nias traditional weaving.

Visual exploration was done by making visual

design innovations and the function of weaving by

considering several aspects, among others; aspects

of materials and equipment, processes, shapes and

sizes, aesthetic elements, philosophical values or

meanings and ergonomic aspects based on the

results of analysis and communication with small

and medium industries.

3 RESULTS AND DISCUSSION

3.1 Nias and Its Weaving Culture

Nias is a small island in western Indonesia that was

once famous for its unique social structure that

emphasises the culture of war and manufacturing

weapons (spears, sabres, shields, and war armor)

compared to agricultural and farming production

tools (Langi et al., 2019). Nias is a society that

adheres to a patriarchal system and upholds customs.

The construction of Nias patriarchal culture has

created the inequality status between men and

women (Ridwan et al., 2021). Despite adhering to a

patriarchal system, Nias men have a principle of life

based on the philosophy of "our self-respect will fall

if we cannot protect our women" (Sonjaya, 2010 in

Didipu, 2017). This protection was perceived since

the 1800s when various anthropologists came to

document Nias flora, fauna, and culture when at that

time Nias women could not be photographed or

talked to by foreigners (Puccioni, 2016). This

protection can be one of the reasons why the culture

of weaving and Nias women seems to be a forgotten

history. Until today less than 10 villages in Nias is

still performing this traditional weaving (D. Waoma,

personal communication, April 28, 2021).

Development of Weaving Craft Motif Designs as a Diversiﬁcation Attempt for Nias Local Souvenir Products

295

The date of the invention of the weaving method

is unknown, but the myth about the origin of the

Nias people (ono Niha) it shows that their ancestors

were descended from the sky with all knowledge

and expertise in various fields of life, including the

activities of weaving and making containers

(Hämmerle, 2015). The cultural value of Nias

requires women to have a weaving craft made of

woven dried keleömö leaves (Eleocharis dulcis),

which is a type of swamp grass; and dried sinasa

leaves (Pandanus tectorius), which is a type of

pandan thorn leaves.

The products of the weaving technique in Nias

are mats and bolanafo. The weaving technique in the

form of a bolanafo product has a pragmatic and

magical purpose. Pragmatic with the aim of being a

container for afo (five traditional ingredients) and

magic with the aim of being a container in the

welcoming ceremony. So it can be concluded that

the tradition of making bolanafo has existed in

tandem with the history of Nias life.

Figure 1: Bolanafo with Ni'otarawa motif.

3.2 Weaving Motifs, Meaning, and

Design

There are three types of bolanafo weaving, Nila’e-

lae (plain weaving), Nisora (combination of several

motifs with colors), and Ni’otarawa (see-through

weaving) (D. Waoma, personal communication,

April 28, 2021).

Bolanafo carries a story of life and nature within

its motifs as seen in Table 1. There are seven basic

bolanafo motifs: Ni'ohulayo, Ni’obahogö,

Ni’obakola, Ni'ola'a Marugadi, Ni’otawuyu Nangi,

Ni'obawandoru, Ni’omadala, and Ni'otarawa.

Ni'ohulayo motif is a triangle shape back and

forth which has the meaning of 'two being one' and

'one being two'. This pattern is used as a wedding

offering presented to the mother of the bride. The

offering is called böligölö nina, which is the

traditional marriage proposal offering. This pattern

is mainly used by commoners. The design of this

motif mainly frames another centered motif.

Ni’obahogö derived from the word baho. There

are two meanings of the word "baho," which is a

very deep ravine or hole in the ground. Second,

something that is piled high up like "hola-hola

galitö," a burning fire. The profound meaning of the

Ni'obahogö motif is inconvenience and happiness.

The motif characteristics are similar to the plaid

pattern.

Ni’obakola motif is inspired by the shape of a

well that resembles a pond. In the well, a fish is

nurtured and named ia kola yana. Bolanafo using

this pattern is given as an offering to the bride and

groom’s uncle. This pattern consists of several

rectangle shapes that are placed repeatedly.

Ni'ola'a Marugadi motif is a depiction of Batu

Maru, which resembles an altar. Someone who is

going to Hinako first makes an offering to the Batu

Maru. The shape of this motif has symmetrical dots

on each corner, placed diagonally and repeatedly.

Ni’otawuyu Nangi is inspired by the intimacy of

husband and wife. This pattern is considered

romantic. It is the expression of the fusion of love is

very visible in the scattered, mingled, and some

scattered motifs like the points of the compass. The

pattern is similar to Ni’obakola with a slight

difference in size.

Ni'obawandoru motif is based on the word

‘bowo,’ which means flowers and ‘toru,’ describing

an eggplant. Many Nias women plant eggplant trees

in their yard. The small purple eggplant flower is

also the inspiration for this motif. The motif has a

geometrical shape with small repetition.

Ni’omadala motif means the big star. The motif

was inspired by the strong light of the big star

sparkling in the sky. Looking up at the clear starry

sky is Ono Niha's romantic habit. The motif has a

geometric shape in form of stars. The big star is

placed in the middle and smaller stars framed the

bolanafo.

Ni'otarawa

motif is used for royalties. This

pattern is made with see-through weaving.

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Table 1: The Patterns of Nias Bolanafo weaving based on its name, pattern, meaning, usage, design, and digitalization

(Pattern images are photographed with courtesy of Nias Heritage Museum).

Name Ni’ohulayo Ni’obahogö Ni’obakola Ni'ola'a Marugadi

Pattern

Meaning

'two being one' and 'one

eing two'

Inconvenience and

hapiness

Pond fish

Depiction of Batu Maru,

which resembles an altar.

Usage

Offering for the mother o

the bride

Container to store afo

Offering for the uncle of

the bride and

room

Container to store afo

Design Framing and centred Diagonal repetition

Repetition with diagonal

attern and backgroun

Repetition with diagonal

attern and backgroun

Digitalization

Name Ni’otawuyu Nangi Ni'obawandoru Ni'omadala Ni'otarawa

Pattern

Meaning Points of the compass Eggplant

The great starlight shone

htl

in the sk

Royal design

Usage Container to store afo Container to store afo Container to store afo Offering for royalties

Design Diagonal repetition

Straight repetition with

dia

onal back

roun

Framing and centered Repetition and straight

Digitalization

3.3 Development of Weaving Motifs

There are seven basic patterns analysed in this

research in Table 1. Developing weaving motif

design exploration is done digitally.

The weaving technique has symmetrical,

geometric, and pixel-like characteristics. Therefore,

a millimeter block is made to facilitate the process of

creating the motif.

Digitally, previously available motif mappings

are placed diagonally and vertically according to

traditional bolanafo templates.

Design 1 uses the Ni’ohulayo and Ni’obakola

motifs. The Ni’ohulayo motif is placed mirroring

one another with a Ni’obakola motif in the middle.

This represents the two offerings for the bride and

groom’s family. Emphasizing the idea of ‘two

become one’ and ‘one became two.’ This design

uses 100% Sinasa (Pandanus tectorius) leaf. The

first alternative uses the combination of red, and

beige color with a green accent, and the second

alternative uses a combination of full-plain weaving

and full-weaving with pattern. This design is a table

runner product sold as a family gift during special

Development of Weaving Craft Motif Designs as a Diversiﬁcation Attempt for Nias Local Souvenir Products

297

occasions such as mother’s day and birthday.

Design 2 uses the Ni'omadala and Ni'obawandoru

motifs. The eggplant and big star that shines in Nias is

a representation of things Nias society finds joy in.

This meaning is transformed placemat and table

runner set as a humble and joyous gesture to receive

guests. Made with 100% Sinasa (Pandanus tectorius)

leaf. The first alternative uses the combination of red

and beige color with green accent and a combination

of full-plain weaving and full-weaving with pattern

technique.

Design 3 uses an exploration of Ni'otarawa

technique. The original design is inspired by an old

Bolanafo bag seen in Troppenmuseum, Netherlands.

The new bag design is created with 45% Sinasa

(Pandanus tectorius) leaf, 45% baby canvas, and10%

synthetic leather. The combination of light brown,

beige, and brown color portrays an earthy color and

the combination of new material and see-through

weaving is a fusion of modern and traditional

elements. This bag can be used as a gift or for

personal use as an exclusive fashion accessory.

Design 4 is also an exploration of the Ni'otarawa

technique. The typical motif is created with smaller

gaps to appear more full. This helps the craftsman to

create more detail for the product. Before, this

technique is used as an offering for royalties. Using

this same concept, this pouch uses 80% Sinasa

(Pandanus tectorius) leaf and 20% Suede material to

give a more exclusive feel. Moreover the

combination of black, gold, and beige color gives

Design 4 a more elevated look.

Table 2: Design development for diversification attempt for Nias Local Souvenir Products.

Pattern

Usage

Digitalization Material Shape and Size Aesthetic Element

New

Meaning

Design 1

Offering for

the mother

of the bride

100% Sinasa

(Pandanus

tectorius) leaf

Combination of

red, and beige

color with a

green accent.

Combination of

full-plain

weaving and full-

weaving with

pattern

Family gift

during

special

occasion:

Mother’s

day and

birthday

Offering for

the uncle of

the bride and

groom

Design 2

Container to

store afo

100% Sinasa

(Pandanus

tectorius) leaf

Combination of

red and beige

color with a

green accent.

Combination of

full-plain

weaving and full-

weaving with

pattern

Gift or

personal use

as a

placemat

and table

runner set as

a humble

gesture to

receive

guest

Container to

store afo

Design 3

Offering for

royalties

45% Sinasa

(Pandanus

tectorius) leaf

45% Baby

Canvas

10% Synthetic

leather

Combination of

light brown,

beige, and brown

color.

Combination of

new material and

see-through

weaving

Gift or

personal use

as shoulder

bag as an

exclusive

fashion

accessory

Design 4

Offering for

royalties

80% Sinasa

(Pandanus

tectorius) leaf

20% Suede

Combination of

black, gold, and

beige color.

Combination of

new material and

see-through

weaving

Gift or

personal use

as small

pouch as an

exclusive

fashion

accessory

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4 CONCLUSIONS

This paper develops Nias traditional woven craft

design as a diversification attempt for souvenir

products.

Woven craft in form of Bolanafo containa a

special story through its motif. Conserving and

developing its motif for modern use is a way to

sustain the traditional craft.

Bolanafo has basic patterns, namely the

Ni'ohulayo, Ni’obahogö, Ni’obakola, Ni'ola'a

Marugadi, Ni’otawuyu Nangi, Ni'obawandoru,

Ni’omadala, and Ni'otarawa. Based on its

traditional bolanafo, there are two templates for

creating the design: framed and centered, and

diagonal-vertical repetitive pattern. Knowing these

templates is a fundamental element to develop

modern bolanafo design. The simple and known

motif is created to encourage the craftsman on

creating new designs.

For future work, this paper suggested a

collaboration between the craftsman with a

participatory approach. This research is basic

knowledge for the craftsman to develop traditional

design digitally.

ACKNOWLEDGEMENTS

We thank Mrs. Dina Waoma as the chairman of Nias

Heritage and Empowerment Foundation and its

community for the help of identification of Nias

traditional weaving. This work was supported by

Program Pengabdian Masyarakat dan Inovasi

PPMI 2021 Bandung Institute of Technology.

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