Dear John, Mac and others,
Yes, as Pamela says, I am very interested in your comments, so take care with your drafts. Don't let your valuable stuff go off into electronic limbo. If you want to play it safe, edit your text in your word processor or editor, then past it in when done. Mac, are we getting your comments on line soon?
To set the record straight on Traude Gavin: it is good to hear that she is coming around on this point, because it will help us enjoy expressions of Iban culture without the cloud of wonder hanging over the depictions of human figures, which in many cultures are considered the most powerful thing to depict - and for that reason are sometimes taboo. I would like to make it clear that my criticism of Gavin's work has been limited to this particular issue, and to the issue, by now I believe settled in favour of the affirmative, of whether or not every little detail has meaning, which may be 'read' by the initiated. On my website I refer to
The Women's Warpath "still one of the best sources on Iban textiles". The title alone is worth gold, as it so memorable, and makes clear in a flash the parallel, seen in many parts of the archipelago, between the virile and female contributions to a successful life, both laden with associations of prowess (think of the daring involved in preparing morinda and indigo and in using certain patterns), skill, pride, and concomitant status in the community.
Anyway, back to the cloths at hand. It is very interesting to learn about John's theory regarding the close similarity of the two 'Spirit pua'. I like the idea of the lack of time for poetic licence to have developed. I like the theory also, because it paints these pieces as more than average in terms of power - which is exactly the first impression one gets: namely that these are knock-out, in your face pieces. Very different from some of the dreamy, utterly sophisticated pieces the Iban also produce, and that, while not exactly common, are not quite as rare.
Thanks for enlightening me on
kenyalang - well,
attempting to enlighten me. I still do not understand exactly which part you are referring to. Is it the two stripes on the left of the below fragment?
Attachment:
File comment: Kenyalang stripes on left?
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Once I know exactly what stripes you refer to I will check some other cloths to look for other occurrances. The separately woven border on my 'Spirit pua' is the only one I have observed so far.
As for Vernon, yes I do realize that he is deeply immersed in politics. More power to him! The Iban come across as very sensitive, intelligent, and of course courageous people, with a strong sense of community - all qualities that are quite welcome in Malaysian politics.
Cheers,
Peter
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Peter ten Hoopen
www.ikat.us
PUSAKA COLLECTION: ONLINE MUSEUM OF TRADITIONAL INDONESIAN IKAT TEXTILES