Songket and “Light”: From Philosophy to Practice

Azizi Bahauddin; Safial Aqbar Zakaria; Aldrin Abdullah

CrossMark

Available online at www.sciencedirect.com

ScienceDirect

Procedia - Social and Behavioral Sciences 208 (2015) 68 - 73

3rd International Conference on Linguistics, Literature and Culture (ICLLIC 2014)

Songket and "Light": from Philosophy to Practice

Azizi Bahauddina* Safial Aqbar Zakariab, Aldrin Abdullah0

aUniversiti Sains Malaysia, 11800 Gelugor, Pulau Pinang, Malaysia bUniversiti Sains Malaysia, 11800 Gelugor, Pulau Pinang, Malaysia cUniversiti Sains Malaysia, 11800 Gelugor, Pulau Pinang, Malaysia

Abstract

The motifs of songket function as vehicles that can bring forward the awareness of the relationships among the divine and spiritual realms with the physical world. The Malay community has translated this appreciation of God's beautiful creations in songket through the weavers' minds and souls. This research will analyse the songket motifs that can be seen as the "light" that symbolically represents the Supreme Creator of the universe. It is equally important to the function of light as a physical entity. The research methods used are qualitative in nature, including visual data documentation as well as interviews with the scholars and experts on the songket motifs and lighting designers. Observations wer made on the cultural aspects of Malay inclusive of the religious, the social and the environmental issues, for connections to light and its meaning. This relationship with the Malay community including the aspects of culture, beliefs and divinity, opens up the minds to spiritual existence and in relating it to light and in appreciating humanity. With this acquired knowledge, the art of contemporary lighting design as an enhancement to the intellectual capability of man from philosophy, ideas to practice (science and technology) can be implemented. If beauty were the result of a creative art, then it would not be wrong to say that the Supreme One wills us to create objects of art or beauty, with contemporary lighting design falling into this category. This study of spiritual values through material culture brings a renewed perception of the study of songket within the spirit of humankind, time and space,. This can be achieved by observing the transformation of spiritual beliefs in the cultural meaning in contemporary lighting design. It is an embodiment of songket in an art form that is philosophical and rich in cultural meaning.

Peer-review under responsibility of The English Language Studies Section School of Humanities Universiti Sains Malaysia

Keywords: songket motifs; Malay culture; beliefs; lighting design

* Corresponding author. Tel.: +60124219109; fax: +6046535430. E-mail address: azizigt@gmail.com

Peer-review under responsibility of The English Language Studies Section School of Humanities Universiti Sains Malaysia doi: 10.1016/j.sbspro.2015.11.181

1. Introduction

This paper focuses on the bamboo shoot motif which is a manifestation of cooperation between man and nature, as found in the behaviour of Malays in their daily lives. The identity exhibited in the songket motif gives Malays a sense of belonging and a distinction that differentiates the Malay race from other races. Through this study of songket, we not only understand a little more of Malay culture, but it also evokes universal spirit of life. The element of nature, adapted and transformed by the Malay community into the songket, has gone through changes over time, while retaining its own identity, principles, philosophy and style. This research also illuminates the concepts of light and lighting in human life, by using the basis and philosophy of songket motifs. Songket is therefore a reflection, an identity, a symbol, and the ethos of culture and race. It is the core of this research on the philosophy and concept of, and the transformation into contemporary lighting design in the search of a true identity.

1.1. Methodology

The research methods used are qualitative in nature, including visual data documentation as well as interviews with scholars and experts on the songket motifs and lighting designers. An observation was made of the cultural aspects of Malay inclusive of the religious, the social and the environmental issues, for connections to light and its meaning. These methods were chosen to complement one another in order to satisfy the objectives and of this study. Qualitative data has been collected successfully, each contributing to the study. The entire finding explains important elements, such as notes from meetings and interviews, to support the scenarios, which are further supported by visual evidence. Results of the discussion and analysis will be analysed globally, to benefit future in-depth studies.

1.2. Bamboo Shoot Motifs Tell Stories about the Malays, Their Spirits and Beliefs, Leading to the Meaning of Light and Its Interpretation.

According to Maxwell, the motifs of songket are seen as a branch of Malay community art as an important material in ritual and religious ceremonies (Maxwell, 1990). Maxwell explained that after the arrival of Islam, these motifs underwent a change in their meaning and concept to reflect the adherence and teachings of Islam. The motifs of songket represent the weavers' appreciation of their surroundings, guided by their beliefs and religion. Their form and appearance, as well as the meaning of Malay art in songket, are influenced by the natural talent of the craftsmen, as well as their faiths and beliefs. As explained by Deraman, the sources of Malay form and spirit are religion, history, oral and written tradition, surviving culture and belief in incantations, amulets, legends and myths (Deraman, 2001). The art form seen in the motifs of songket not only reflects the Malay cultural aspiration, but it is also a spiritual communication tool of the community during that time.

In this research the bamboo shoot motif has been identified as a key motif to the Malays. This initial concept must be understood to follow the ensuing detailed study in this paper. Wan Yahya, a cultural expert in Malaysia who studied the motifs of songket, explained that the bamboo shoot is an important floral element synonymous to the life of the Malays. Within this floral element lies the meaning, philosophy, faith, belief and identity of Malay life. He mentioned that cooperation between man and nature is manifested in how the Malays conduct their daily lives. In the Malay community, the flora represents the tree of life, which symbolises "semangat" or spirit. From this, the motifs of songket are adapted in Malay textiles and herein began the philosophy on human existence in the natural and supernatural worlds. Wan Yahya further explained that old Malay sayings also portrayed the bamboo shoot as a "world". He sang this verse during the interview:

The earth broad as platters The sky wide as an open parasol The large world then becomes small And the small world then disappears

He presents this verse as showing that the Malays see life as involving the visible and invisible worlds, as evident through their belief in the cosmic elements, namely earth, water, fire and wind. However, according to Hamid (1985), the adoption of the concept of art through the motifs of songket in Islam should lead to the concept of

One God and submission to The Omnipotent. This paper will highlight the importance of the bamboo shoot motif and its decorative elements leading to the meaning of light in Malay culture.

1.3. Representation of Bamboo Shoot Connects Meaning and Language of "Light" in Malay Culture

The bamboo shoot motif scrutinized in this research contains a hidden meaning on the element of light that can be best understood by looking at the aspect of Divinity as the core. In other words, light itself is seen as signs pointing to the existence of God. The study on the philosophy and meaning of light is also seen through the concept of scientific purpose and objectivity in Islam on the concept of life on earth and hereafter. The symbolic meaning of light is intended to guide and direct a person towards the knowledge of God and aligning oneself to His creations. As explained by Wan Yahya, the One God is like one source of light in the darkness and a guide for man to search and find His blessed consent. According to Wan Yahya, by finding His blessed consent, His love shines more directly into our lives and the path of the soul is more visible. The Malay community, he said, elevated the concept, meaning, and philosophy of light by understanding that every creature is subjected to the will and of the Divine Creator, determined as law or natural instinct, and this uniformity of natural law is a phenomenon that proves His Omnipresence.

The artistic motifs of the songket are based on goodness, such as the philosophy of life, positive attributes, inspiration, guidance to good conduct and morality as well as strong character. In other words, art wants man to do good deeds unto one another, and it builds good character in the community while preventing wrongdoings. When applied, art should universally connect man to his Creator, his environment, to other people and to other creatures. This is the main concept adopted by the Malay community, by inspiring motifs into songket to this very day. And as explained by Wan Yahya, the creation of the bamboo shoot motif contains a Divine meaning inspired by the Malays. A bamboo shoot that seeks light as a source of life is most significant in identifying the existence of a Super Being with powers as The Giver. He also stressed that the bamboo shoot is a motif containing elements of spiritual, social and religious meanings for the Malays. In his explanation, the floral element is generally likened to the centre of the world. His philosophy is that the flora connects the heaven and the earth because its roots are embedded beneath the ground and its branches reach the heavens, symbolising man's attainment of perfection.

Fig. 1. The uniformly arranged matching motifs around the bamboo shoot motif, which also functions as the "cloth head", are symbols of unity,

harmony and the power of the Supreme Creator.

Furthermore, Wan Yahya argued that the bamboo shoot motif, being depicted as diverging and converging, conveys the meaning of 'unity' through a harmonious and balanced flow (Fig. 1). Mr. Hafsin, the main producer of songket circa 1970s and 1980s in Losong, Terengganu, also an expert in interpreting the meaning behind the motifs of songket, agrees with Wan Yahya, that the motifs of songket depict the abundance of the Universe as a gift to

mankind by The Creator. He added further that ideas for songket motifs were inspired by the flora and fauna around their dwellings as well as the close attention of the weavers to the elements around them. For example, the bamboo shoot and flower motifs, taken from plants that grow abundantly around them, also convey the Divine meaning, just as the bamboo shoot is symbolic of the world but has been modified by the weaver into geometric and abstract designs.

As an analogy, Hafsin said, the bamboo shoot pointing skywards, also termed the "sky pointer", is a symbol that God is one. To the Malay Islamic community, this symbol reminds them that Allah is the only One worshipped. This is supported by Wan Yahya, who said that the bamboo shoot would definitely point to one source, namely the sun, for the process of growth. It shows us that the existence of this important source proves the existence of God the Supreme Creator 'up there'.

Besides the concept of divinity, he said that the philosophy on family life, the sense of belonging, unity, balance, perfection and cooperation are among the community concepts hidden within the bamboo shoot motif. It also represents a universal concept in the life of man worldwide. Wan Yahya gave an example by looking at a frond of the bamboo shoot and likened it to a nursery for the bamboo shoot to grow in search of a light source. The existence of that frond or nursery is intended as a protection to the small, young bamboo, shaping and nurturing the plant, like humans nursing children when they are small. He further explained that the shoot or the bamboo is of different shapes, despite being in one cluster, because of the influence of the environment that changes the pattern and shape of the mature bamboo. This is much like a newborn child brought up according to the influence of his environment during his journey into adulthood. Likewise, the growing bamboo shoots would compete in their search for a light source. This natural process results in bamboos with various shapes and patterns within the same communal cluster, which signifies mankind's various idiosyncrasies within the same communal group. Meanwhile, the various types of bamboo, such as the enau (prickly bamboo), gading (tusk bamboo), duri (thorny bamboo), and lemang (tube bamboo) within the same species depict the Malay race as comprising many ethnic groups, lingoes and dialects. Herein, said Wan Yahya, is proof that the Malay community is rich in life's philosophy, which can only be appreciated through the creation of their floral motifs.

The concepts of harmony and balance in the motifs, according to Wan Yahya, signifies the philosophic balance in terms of faith, balance between devotion and the greatness of religion, as well as the balance between spirituality and materialism. This is elaborated by Dawa, a former Director of National Art Gallery in Malaysia, who studied the bamboo shoot motif from the aspects of sociology and anthropology of the Malay community. The structure of the bamboo shoot symbolically represents the process of how two shoots meet, depicting the concept of sexual intercourse, with the tiny motifs representing the human sperm which symbolise hope, fertility, magnificence and longevity. Furthermore, Dawa argues that the motifs around the bamboo shoot, also called the offspring motifs, illustrate the dynamic relationship between parent and child. This relationship begins from the birth of a child, regarded by the Malays as the "light of the eyes" that brings a "glow" into the lives of a husband a nd wife. This "glow" is regarded as a blessed gift to the couple and can change the status of being a couple into being a family. Thus, an heir is a criterion for a complete marriage in Malay and Muslim communities. This completeness is an important concept in Islam in aspiring happiness of life in the natural and supernatural worlds.

Dawa also added that the concept of pairings in the bamboo shoot motif is viewed as highly significant in the Malay family life, to the extent that a couple regards their life as incomplete unless they are blessed with at least a son and a daughter. Such is the importance of pairing and dualism in the Malay community. Dawa also studied the strength and significance of the bamboo shoot within the concept of family life in the Malay community. The family line factor passed down from parent to child cannot be easily changed by anyone, as illustrated in the Malay prose "a shoot is never far from the cluster". He furthers explained that the tiny motifs that interlink with one anothe r around the bamboo shoot have a specific significance. To the Malays, the meaning of "they are our children" supports the Malay proverb, "To bend a bamboo, start when it is still a shoot". This saying conveys the purpose of teaching and learning, where if someone in the Malay community sees a wrongful act being committed by children in the community, a reprimand is meted out even if they are not one's own children. This defines their concept of a close-knit community. This concept of living in a community reveals the meaning of "spirit", which is explained by Wan Yahya as "a way of life" for the Malays, through a very strong sense of belonging.

1.4. Heritage Philosophy and Practice

Songket and its motifs, as mentioned before, are symbols of power, societal class, gallantry, racial identity, beauty, high creativity, religion and historical roots. The main objective of this study is to analyse the philosophy and meaning of light to the Malays, through an in-depth study of the symbols and motifs of songket. Hence, understanding the meaning of songket and its motifs are vital to uncover the philosophy behind songket and in presenting ideas, concept development of contemporary lighting design. The researcher asserts its relationship with the Malay community, who created the motifs of songket, taking the aspects of culture, belief and divinity, all of which open our minds to existence and light, in appreciating humanity and society.

The Malay culture is a culture that is receptive to change and able to adopt foreign elements and incorporate them so completely that they melt into the whole. However, the changes that take place remain a heritage that must still be preserved and developed, while adopting new changes and technology that can enhance creativity. The combination within the context mentioned promotes Malaysia's image to the world.

In this study, the researcher discovered the relationship between light and culture through a synthesis and an understanding that are supported by facts. Songket is an important tool in this study. Songket and its motif are just designs but the hidden meanings and its philosophy are religious and related to light.

Since the motifs of songket are created and arranged so finely and with such care, by meeting the characteristics of design, such as the arrangement of lines, colour selection, balance and harmony, the metaphorical characteristics in lighting designs also cover colour balance, colour of light, and lighting contrast that meet the requirements of lighting design and user physiology. The aesthetics, harmony and consciousness in creations are concepts that must be highlighted when it involves the Malay identity. Metaphors in lighting design are used by lighting designers who view architectural elements or space not only in the material and physical senses but also as a totem pole riddled with messages and vocabulary.

Those who are interested in, or wish to create a connection between light and songket have to basically form and understand the symbols in the motifs of songket. For instance, the most important motif in Malay culture, which the researcher can also say to be the Malaysian identity, is the bamboo shoot or the triangle, which has symbolic and hidden meanings, with folkloristic beliefs regarding the bamboo shoot still being deeply embedded in the Malay culture. If the bamboo shoot motifs are examined deeply and in great detail, it can be identified in several types, such as the sickle, shark's teeth, etc., all related to the culture and beliefs of the community, which will ce rtainly create a new expression when applied as a concept in contemporary lighting design. In addition, when they are transformed into elements of two- or three-dimensional creations of light, lighting fixtures or design materials, these creations will be even more meaningful. Light and lighting must evolve into shapes and ideas that are suitable with the spirit of a culture with firm roots in its eternal values.

However, the researcher is confident that the motifs of textiles and cultural artefacts of various races and cultures have profound meanings in the interpretation, philosophy and meaning of light, while being capable of demonstrating the intellectual and cultural integration between diverse ethnic heritages. The findings can indirectly be put to practice in the concept of contemporary lighting design.

The proposals presented here will provide a basis for future researchers to further explore the meanings behind symbols and their applications in lighting design. It is interesting to share that despite any colour, form, shape and texture unifying a message, lighting designers seem to be sending "signals" to the public. In this context, light and lighting are the messages that are being communicated. The question, what is it that lighting designers are trying to communicate?

This study as mentioned earlier involves the philosophy, interpretation and meaning of light in Malay culture. Why is the researcher placing importance on this issue in this study? Readers would probably agree that philosophy has neither merit nor any external meaning, nor does it make a designer wealthy, but it must be emphasised here that philosophy produces designers with character and strength in making decisions, providing inner confidence and a sense of wholeness. The meaning of light should not be understood only in the scientific and physical senses, but it should be understood more deeply within a culture. Through this study, we can learn from each other with this research serving as a starting point for better understanding and mutual respect between cultures.

2. Conclusion

With this study of light and culture, the researcher is inspired to create a new expression in bringing about a new Malaysia within the spirit of humankind and the spirit of the times by applying contemporary lighting design and its meaning in culture. It is hoped that this study would trigger designers to create a better meaning in their designs for the society in this part of the world. The researcher also hopes that the parties concerned will find the outcomes of this study useful in one way or another.

Acknowledgements

The authors would like to acknowledge the Universiti Sains Malaysia for funding this research under the USM University Research Grant 1001/PPBGN/816187 and the School of Housing, Building and Planning, Universiti Sains Malaysia for the research project.

References

Abdullah, Wan Yahya. Philosopher and researcher of the bamboo shoot motifs. Interviews at Terengganu State Museum on 20 April 2005. Ahmad Dawa, Mohamed Najib. Philosopher and researcher of the bamboo shoot motifs. Interviews at Universiti Sains Malaysia on 3 April 2005. Deraman, Abd. Aziz. (1988). Falsafah dan Pemikiran Dasar Kebudayaan Kebangsaan. Kuala Lumpur: Kementerian Kebudayaan dan Pelancongan. 1-6.

Hamid, Ismail. (1985). Peradaban Melayu dan Islam. Petaling Jaya: Penerbit Fajar Bakti Sdn. Bhd. 73. Hafsin. Songket weaver. Interviews at Losong, Terengganu on 21 April 2005.

Ismail, Siti Zainon. (1996). Destar; Satu Pengenalan Seni Tampak Melayu. Laporan "Bengkel Seni Lipatan Tengkolok", 15-18 Oktober 1996 at Muzium Negara. 4.

Tengku Luckman Sinar, SH. (1993). Motif dan Ornament Melayu. Medan: Lembaga Pembinaan & Pengembangan Seni Budaya Melayu. 1, 52. Maxwell, Robyn. Textiles of Southeast Asia: Tradition, Trade and Transformation. Australia: Oxford University Press. 1990. 9.

Songket and “Light”: From Philosophy to Practice Academic research paper on "History and archaeology"

Abstract of research paper on History and archaeology, author of scientific article — Azizi Bahauddin, Safial Aqbar Zakaria, Aldrin Abdullah

Similar topics of scientific paper in History and archaeology , author of scholarly article — Azizi Bahauddin, Safial Aqbar Zakaria, Aldrin Abdullah

Academic research paper on topic "Songket and “Light”: From Philosophy to Practice"