Ulos Si Itom Namarsimata, indigo-dyed woven cloth with beads (Source: Dame Ulos)

 

Renny Manurung is a young Batak Toba handloom weaver from the village of Banjarnahor, Tarutung, North Tapanuli on North Sumatra. A young girl whose college education was interrupted as her parents’ finances dwindled due to decrease in the sales of ulos (Batak traditional handloom woven cloth). Determined, Renny found out the problem and decided to revitalise traditional ulos textiles and culture.

In this episode of aNERDspective (our NERD talk show where we converse with amazing friends about their textile adventure and perspectives), we talked to Renny about her joys and struggles as a young weaver who trying to keep the legacy of this sacred cloth alive. 

Note: Full video in Bahasa Indonesia is available on IG TV and this translation of the transcript has been edited for reading format.

 

Tony Sugiarta (TS): Hi, I am talking with Renny Manurung, founder of Dame Ulos. Maybe we can start with introduction, who is Renny and your journey in founding Dame Ulos.

Renny Manurung (RM): I’m Renny and I found Dame Ulos in 2014. The story began when I went back to my hometown in Tarutung. At the beginning of 2012, I had a financial difficulties. That was normal. However, I was thinking that our people are mostly weavers who use their weaving income to support their children to universities. I thought, what happened that caused the dip in income? 

I transferred to night classes and took part-time jobs. I tried to examine what happened in my hometown. I am a weaver but I do not understand philosophy and such. In 2012, I decided to return home with a short gig in Medan, so I am go to and fro Medan – Tarutung.

TS: Where did you study?

RM: My college was in Medan, majoring in accounting. My hometown and Medan is about 8 hours with bus, there was no airport then, so we have to go through land transport. If we go in the night, we will arrive in Medan at dawn.

Carrying on… I searched on the internet, what is exactly ulos? I am curious. I then found an anthropologist, Sandra (Niessen). I investigated her Facebook account and contacted her there. Long story short, she asked, why do I want to weave old motifs? I told her, “the economic activities of the people in my village is about 90% weavers. As a local youth, I was thinking what can I do?”

After I talked to Sandra for a while, I then realised that she has a book entitled Legacy in Cloth. This got me thinking to start Dame Ulos.  In Batak language, dame means peaceful. My village is the first village, Kuta Dame, where Christianity first started in Batak area, hence, I picked that name, simple as that.

My team consists of youths and middle-aged ladies. It takes time to teach them and revive old motifs as there is no one who teach them and we learnt together.

I contacted Sandra and I called her Nang Boru (younger sister of father) as Sandra has been given a Batak surname, Hutabarat, which runs in my family. She told me that she has been looking for young people like myself who is inspired to revive the culture. Hence, if we are comfortable (with each other), we can build a strong synergy. In 2016, I met her in a market. She came from The Netherlands to Jakarta and direct to Tarutung. We talked, we met with Dame Ulos team, bless me a book, which became our foundation to revitalise Ulos.

That’s the beginning of my and Dame Ulos’ journey.

TS: Do your parents weave?

RM: Yes, my grandmother (from my mother) is from Solo. She is a good weaver. Back then when I was young, I lived with my grandmother, not with my mother. Although, my mother also have her masterpieces.

TS: From what you said earlier, there are not many people weave an old ulos. What do you think causes this?

RM: Around the year 2000, due to the influence from Malay civilisation in Sumatra, they wore songket during wedding. They thought: what if we wear songket with ulos motif instead of songket from Palembang? Ulos used to be a long piece but since 2000, it was in shawl and sarong, and called Mandar Tarutung, which they now used for fashion, wedding, etc and combine them recklessly with other motifs.

TS: Do you have any examples of the motifs?

RM: This cloth (09:29) is a blue sarong. This is actually an ulos motif but it is combined with colours that are more glamorous and modern. The locals stopped buying songket as they can now produce one with ulos motif. However, they forget the ulos that is rightfully North Sumatra identity, which will slowly disappear and even extinct. I just wove this, which is indigo-dyed (as shown in the first image above).

TS: Oh you used natural dye too. Did they use natural dye in the beginning? Or do the they used synthetic dyes and yarns? Perhaps, you can explain a little bit in terms of material.

RM: Yes, we are now going back to nature. From the story that I heard from my mom, when they were young, they purely used natural dyes. They grew the plants at their backyard, harvested and make their own indigo paste. However, since the appearance of yarn factories, people grew lazy to spin their own yarns. They do not bother about natural dyes and prefer to buy synthetic dyes. So I only saw synthetic-dyed cloth when I was young. 

When I wanted to revitalise old ulos, I have to searched where to learn, who to learn from – I have no idea. I am glad for Meet the Makers friends who shared the recipe and guided me along the way. That’s the start.

TS: So you planted them too?

RM: Yes, I do, I plant indigo. There are two types, one is ordinary indigo, another one is from my friend from Japan, I try to cultivate these plants on my backyard, hoping it will grow well.

TS: Other than indigo, what other colours are used?

RM: In Batak culture, there are four colours – red, black, white and indigo. These are the 4 basic colours but I have to explore so as to be accepted by the public and less monotonous. I tried jelawe, sappan wood, mango leaves, turmeric and a few more.

TS: How was the result?

RM: I’m so excited and, for the first time, my team and I were surprised. They commented, “wow, natural dyes are really different, they have a particular smell and the colours are muted, not as strong as chemical/synthetic dyes”. Now, they are used to it and I even taught them to make natural dyes. In case I am not around, they can be independent.

TS: There are so many rooms to experiment. How long have you used natural dyes?

RM: I started in 2019 and maybe still (ed.: experiment) for the next two years. There are so many things to explored. In fact, if not due to COVID, I planned to go to other areas, such as East Nusa Tenggara to learn about dyes. They are so rich with their dyes. Not to worry, there will be another opportunity.

TS: Since revitalisation, do you found any insights on innovation in terms of technique or its motif?

RM: Since I started revitalising in 2016, I continued to make sarong, not only shawl. This is because if I only make into sarong, they can only wear it as a shoulder cloth. Whereas many women here, they like to wear a matching sarong and shawl. Of course, if they just want to buy only shawl, it’s ok. More importantly is that I will let them know that ulos refers to one big piece of cloth. 

I have been collecting old ulos, in the sense of borrowing from others, not to buy. This become my reference that’s more real (ed.: than a photo in a book). For example, this motif Simata, as shared by the owner of Abitkain, the technique is complicated. I learnt, I have no mentor but when I see, I can imagine. As a weaver, if they are a good artisan with good skill, not just as a weaver, when showed a piece of cloth, they will be able to replicate.

TS: From what you said earlier,  there are few cloth or motif that is difficult to make and many people doesn’t know about that. Do the techniques vary a lot or do you need specific skills for each motif? 

RM: In Tarutung, about 80% of the techniques have changed. They copy or even created their own technique. For example, a Palembang songket, with sticks and nylon strings as markers (ed.: in supplementary weave). If we move to Toba Samosir, that is near to Toba Lake, they used sticks without the string, like us in Tarutung. That was said to be influenced from the Malay civilisation. In the past, as my mum told me, there is a jungkit technique which they pick up the yarn without even using nylon string. 

There are a lot of technique. One that I used here (ed.: for the cloth in the main photo) is that I arranged the beads using cross-stitch technique. This motif is Dutch-influenced. There are two kinds of ulos – pre and post colonial. If there are flowers, such as sadum, that is considered post-colonial motif. The Dutch brought cross-stitch pattern to Sumatra. The Bataknese then imagine and applied it to ulos. 

TS: Although you concentrate in revitalising, is there any modern or new motifs in the market?

RM: From what I see, the ulos now is very commercialised. There are a lot of modification in Java, including in small shawl size, even to the machine-printed cloth. There are both positive and negative impact. In Tarutung, there are a lot of motifs that are modified. It is not problematic. However, there might be one day when people do not know the authentic ulos. We are worried, as a successor, that we will not be able to know how the original is supposed to be. It is okay for fashion but the (ed.: fate of the) ulos culture worries me. 

TS: How is the response from the audience?

RM: So far, when I talked about revitalisation, they supported me and, in fact, they want to find out more. They are very enthusiastic when they hear about the different textiles – which has been modernised, which is original. They will understand and that is our aim, to reintroduce. At least they now know a few type of ulos, which is of good quality or this is the identity of Batak culture.

TS: I notice that you are active on media social. How are response from friends in social media, especially the younger audience?

RM: I happened to be the Chairperson of a youth committee in an Indonesia-wide church association. I always campaign (ed.: about tenun ulos) and it is expected that there are people who are indifferent and some responded. When I want to go out of my comfort zone to go international, they are supportive. They are willing to learn and, over the years, the conversation gets easier and they care. When they bought machine-printed textiles, they consult. Of course, to the indifferent, I am sure that one day, when ulos has really taken off, they will automatically turn back. Yes, just like batik.

TS: As for Dame Ulos, what is the legal entity? Is it an association or a brand?

RM: I am now setting up a foundation, but it will need more time since I worked on it for the past one year. For Dame Ulos, I never position my team as an employee but as a team. All the cloths that they make, they determined their price. All of us, including myself, are weavers and Dame Ulos is just a place (ed.: to develop our aspirations).

TS: Is one fabric made only by one weaver?

RM: There are 20 weavers and half of them are very skilled and 10 of them could revitalise some cloth patterns. They are about 30 to more than 50 years old.

TS: How about the natural dyes? Do they make it themselves or do you have a special team?

RM: So far, I am doing it myself. Unfortunately, it is difficult to change the mindset in the village. It takes time. They have families and hard to teach. If I asked them to try, they say they are busy. It is a challenge for me. On the other side, there are 2 weavers from my team who did not ask for yarn. They will dye their yarns and if there is a new colour, they will show it to me. The motifs are of their own creativity and I give them freedom. If I indoctrinate, it destroys their creativity. I am weaver too, so I could understand. 

TS: How long does it usually take to make one cloth?

RM: Depends on the complexity. There are some that can complete 1 cloth in a week or a month, depending on their mood and health.

Also, the belief, at least I say so, is that we can feel the character of the client. For example, from my personal experience, I was supposed to weave a piece of cloth for a couple’s wedding and, unbeknownst, it never gets completed. In reality, the wedding was called off. Even if it is ordered by phone, I turned demure/chatty/lazy according to the clients. It is believed that a cloth has soul, maybe linked to animism belief, and that’s the magic. 

TS: That’s very interesting. Based on observations about batik, maybe the whole traditional fabric are similar where the buyer will usually be attracted by something that is not visible, the soul of the clothes.

RM: Another story (on weaving culture in Batak), I have four siblings and I am the youngest. My three elder siblings cannot weave their own cloth. There is a ritual in which the bride must bring banana, betel leaf and kueh lapet to be given to the weaver so that she will be healthy and complete the cloth smoothly. There is still a ritual that people adhere to. 

TS: What are the challenges that you faced?

RM: The biggest so far would be natural resources. It is difficult to get water in the village, especially before the rainy season. As you know, dyeing needs a lot of water and I have to bring the yarn on a truck to my friend’s place. That’s the biggest challenge even though Tarutung is surrounded by mountains. 

The next challenge is the lack of support for youths by the government and fellow artisans. Even though we are competitors, we should support each other. This is not the case. For example, I am not informed of any government initiatives or events. We think positively and thankfully, with friends’ support, we are able to go international and we can continue our mission.

Finally, not a challenge, but more of an acceptance. In Tarutung, someone who graduated college and went back to the village, is viewed negatively. Even though we fought, they did not recognise the achievement, despite the fact that we don’t only revive the tradition but also raise the living standard of the weavers. Thankfully, although there are only twenty, the rest are at least inspired. That’s positive and I am thankful for all the support from family too.

TS: The family is the biggest supporter. It was surprising to hear that you don’t get any supports from the government and from the village too. How many weavers are there in the village?

RM: In North Tapanuli district, including Tarutung and Muara, there are approximately 5000 weavers. The good news is that they have not learnt about ATBM (manual loom), we are still using the traditional manual backstrap loom, so the culture is preserved.

TS: What are the biggest achievements that you are very proud of?

RM: Actually, the biggest achievement has not been realised, which is to go international. Actually, I should be in Switzerland this month for an exhibition in Switzerland and Netherlands but COVID happens. 

I also dream about to be summoned by Mr. Jokowi, not to receive an award but to share and discuss in the Presidential Palace. What’s the angle? I still don’t know.

Also, I want to build an Ulos Museum in North Sumatra, for the whole Samosir, not just in North Tapanuli. That will be a huge effort and time commitment but I believe we can do it.

For going international, actually I did go to India which is relatively quick for me. Hopefully, more await.

TS: Regarding India, how was the experience in India? 

RM: The exhibition was Surajkund Mela in Surajkund, India. Long story short, I was the head coordinator for Indonesia and this is a huge opportunity as India has a huge textile culture and that was a challenge. I was told that some ulos has similarity to Indian textile which pique my curiosity to visit the gallery or museum. I only took one (out of two) exhibition sessions so I could attend the seminar. The reception from the Indonesian embassy in India was amazing and that was pre-COVID in February where the event was open to public. The people was enthusiastic and they are avid textile lovers. 50% of the buyers are lecturers and textile students. Yes, India has a Textile degree. Indonesia, with equally impressive textile culture, should have a specialised degree in textiles. They only thing is that they will bargain below 50%. 

Some commented that it is their motifs too. I told them that there is such possibility of similarity. Sandra just told me that ulos mangiring was originated from India. She explained that India is much older than Sumatra and the textiles appear in Sumatra due to the trades. I asked how could the Batak people know how to make the same exact motif. She replied that old Batak people are very smart. Perhaps there are hundreds of such motif that disappear. Some designers said that ulos is a masterpiece with a deep philosophy embedded that is used culturally until today.

TS: So, is it some kind of exhibition?

RM: Yes, not just for countries nearby, they also invited Uzbekistan, Afghanistan, Russia and some African countries such as Kenya and Sudan. There are about 30 countries on top of India. I was told that’s the biggest annual event in Surajkund.

TS: Other than India, which textile has any similarity with ulos?       

RM: If overseas, I would say still India. As mentioned earlier, there are similarity with the Dutch cloth, not in terms of material but the patterns. We have technique with influences from East Nusa Tenggara, Kalimantan and some in which the origin is unknown. For example, in the middle of an ulos, there is a dividing line, called jugia, we do not know where is this technique from. We still need to investigate why there are similarities among East Nusa Tenggara, Kalimantan and North Sumatra weaves, whether they are influenced from inside or outside of Indonesia. 

TS: What are the impact of the pandemic for Dame Ulos?

RM: Frankly, since the pandemic in April till now, we continue to weave as usual but they shifted to weave for fashion items. With minimal reserve, we agreed to reduce the price to keep producing. It is not possible to maintain the price and hold the inventory as the ceremonies and parties are cancelled or postponed. 

Inevitably, we move to (ed.: Instagram) live. I have never sold live, mostly photos on mannequin but this is slow. Perhaps, due to stay at home, people like to watch Instagram live. We have to follow the trend and decided to go once a week, to keep them in suspense too. This allows us to remain productive and I always say to my customer and audience that is price should not be a reference for market rate during normal condition. This is just due to the pandemic and the price will return when it goes back to normal. Thankfully, there are people who help to invest in our cloths. I also say that one cloth that you buy, it can save 5 people here. 1 weavers can support her husband, children and other family members. With 20 weavers, 100 people will be able to eat and survive.

One cloth that you buy, it can save 5 people.

TS: How big is an ulos usually?

RM: The size depends on the region. In Toba Samosir area, they have a large loom, normally 80-90 cm. Their looms are big because they use the cloth as sarong and hence, they are wider. In North Tapanuli, mostly are used as baby carrier, hence the width is mostly 70-75cm. 

Here, we have a cloth that is the “king of cloth” named ulos Ragi Hidup, ulos about life. It is called Pinucakan in Toba Samosir. The width is about 1m and 2.2m in length. However, that is not woven at one go. It is three cycles that’s combined into one. We have tenun gedog (the manual backstrap loom) but with different sizes. In Simalungun, it is smaller, about 40cm, as they used it for head cover, not for body cover.

TS: What are the hopes for Ulos and Dame Ulos in the future? 

RM: First, I hope that Dame Ulos become a well-known brand in Indonesia. Not only as a commercial brand but a brand which is able to promote the real meaning behind ulos. I hope we can spearhead that. 

Personally, I hope to explore other countries while young and to make ulos well known. Weaves from East Nusa Tenggara and Sumba have taken off and I believe ulos is next. Hence, I have to work harder. The hope is for weavers, fashion designers and collectors to synergise to bring ulos to go international. It is difficult if everyone is not on the same page. If we are united, I believe we can do it. That is my biggest hope.

TS: Hopefully we can collaborate to introduce ulos to a larger audience. Thank you for the stories and inspirations.

RM: Thank you also to Mas Tony and @aNERDgallery, hopefully we keep expending and promoting Indonesian traditional textiles, it is wonderful and successful always.

 

We hope you enjoyed this episode of aNERDspective. Check out the previous episode on IGTV and our gallery and store if you would like a piece of Indonesia for your home or wardrobe. You may also check out Dame Ulos Instagram or Meet the Makers website for the latest Dame Ulos collection.

Photo credit: Dame Ulos, unless stated otherwise.