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Written by Coleen Gonner, 9th January 2023Contributor: Vasiliki Markou
Julita (middle) visiting the Wahor Hadomi group, led by Selviana Dao (on Julita’s right), in Belu. Image from: Julita Oetojo.
A special thank you to the previous intern, Vasiliki, for conducting this interview with Julita Oetojo and letting me transform it into this blog post!
After CCD-NL’s founder Yetty Van der Made-Haning’s trip ten years ago, we once again had the opportunity to return to Indonesia and visit the artisans we support and collaborate with. In September 2022, CCD-NL’s advisor, Julita Oetojo, travelled to Rote, Belu, and Malaka to deepen the relationship of our organization with the ikat weavers, partners, and members of the local government. To get a better understanding of her journey and impressions, we asked Julita to share her experience with us.
Julita Oetojo (left from the middle) next to Cecilia Bere Buti, the vice regent’s wife, with the artisan group in Malaka. Image from: Julita Oetojo.
Let’s start off with Julita’s general takeaway from the trip. On top of being extremely grateful for the exciting and fulfilling chance to connect with the artisans and their community in person, she highlighted how blissful and special it was to witness the ikat artists weave. She would listen to their stories about the different motives they crafted, and the multitude of colors and yarns they used. This journey proved to be an amazing opportunity not only for CCD-NL but also for Julita and her research on Ikat. The local government and institutions welcomed us with open arms. We are immensely thankful for the praise CCD-NL’s work received from our partners. This warm welcome and compliments were encouraging and very promising for our future work together to blossom even further.
Selviana Boi Dao (left), leader of the Wehor Hadomi weaving group in Belu, explaining the material and meaning of the motifs of her new Ikat weaving to Julita (on her right). Image from: Julita Oetojo.
What changed between then and now?
What changed between then and now?
Since our last trip to Indonesia was a decade ago, we wanted to explore the differences between then and now. What changed? What remained the same? Were there any surprises along the way?
An important point Julita noted is that although we could not travel to Indonesia in person for ten years, the communication between our partners and us was never interrupted. As an advisor, she and other members of our organization regularly connected through different projects such as “Binding for Ikat”, online meetings, and the various webinars we organized and hosted throughout the years. (Do not worry, if you missed out on some events in the past, you can find some of our webinars on YouTube and there will be more in the future!)
Julita (second from left) with young artisans from the Ina Manenu Rote weaving group headed by Marsha Fattu (in the middle). Image from: Julita Oetojo.
Julita noticed that there are some improvements over the course of years, but we still have a lot of work cut out for us. She underlines that one of the main issues that yet need changing is the current use of synthetic colours. The results of this artificial cloth dyeing method are not just vibrant colours, but they are in fact damaging the environment as well as harming the health of the artisans. In addition, due to this toxic colouring process, the families of the artists that live together are also negatively affected. Therefore, it is very important to continue our projects that highlight the traditional ways of ikat weaving. We teach ikat artists with the project “Trained for Trainers” how to go back to the origins of the craft by using natural dyes that can be found in the surrounding environment. This way is not only harmless but also more sustainable and still results in beautiful colourful cloth.
Julita explained that unfortunately due to the dry natural conditions of the region, there is a lack of clean water that is needed for the dyeing process. She continued by urging that this challenge can only be resolved with the assistance of the government. More water reservoirs need to be constructed and an improved waste disposal system. Julita also pointed out that the artisans as well as the other people living there need to learn about better waste management. We should also train them how to properly take care of the waste in order to lessen the damage to the environment and the negative impact on their lives.
What are the struggles of ikat and its weavers?
What are the struggles of ikat and its weavers?
Let’s dig deeper. Ikat is not only a beautiful cloth but also deeply and powerfully interwoven with Indonesian culture to this day. However, even though the ancestral craft is a part of Indonesia’s cultural heritage, it is not always easy for the artisans to make a living from selling their art. Julita shared her concern about the risk of extinction of the ikat weaving technique as most artists are a part of the older generation. Sadly, younger people might not continue the traditional art of ikat due to the hardship of gaining an income. This is unfortunately the harsh reality for many traditional crafts around the world.
Through Julita’s research, she marks the importance of the need for good quality yarn and designs of high cultural significance to make a livelihood that supports the artisans and their families. She added that we need to give the artists the right skills to promote and sell their unique handcrafted products to a broader and even international market.
On the bright side, Julita shared her hope of reaching the goal of protecting the ancient craft of ikat weaving and helping the artisans in Rote, Belu, and Malaka with our project “Training for Trainers”, which includes various artisans, designers, and organizations in Indonesia, the Netherlands, and other countries.
Artisan in Rote weaving Ikat textiles with natural dyes and typical Rote motifs symbolizing their King’s ancestor. Image from: Julita Oetojo.
What promises does the future hold?
What promises does the future hold?
Lastly, Julita left us with a powerful message. She invited us to dream big and look beyond Indonesia.
“Ikat has unquestionably significant worldwide potential since it is a product with high cultural value, woven from natural materials, and has motifs developed by the artisans’ ingenuity that are both beautiful and historical. Many things need to be improved in manufacturing and, of course, in marketing the products on the global market. However, many potentials lie within ikat and must be developed through a lot of training and learning.”
“Ikat has unquestionably significant worldwide potential since it is a product with high cultural value, woven from natural materials, and has motifs developed by the artisans’ ingenuity that are both beautiful and historical. Many things need to be improved in manufacturing and, of course, in marketing the products on the global market. However, many potentials lie within ikat and must be developed through a lot of training and learning.”
After hearing about Julita’s experience filled with surprises, blissful moments, and promises for the future, we hope to have the chance to return to Indonesia soon again to continue weaving our story together with our ikat artists and partners!
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