ARTICLE

WEAVING AND LOCAL GENIUS FROM NAGARI UNGGAN

STRENGTHEN NATIONAL CULTURE
Selvi Kasman, Novesar Jamarun, Hamzah
Music Deparment Performing Arts Faculty ISI PadangPanjang
Jalan Bahder Johan Padangpanjang 27108
Telp. 0752 82077, Fax 0752 82803
Email : isi@isi-padangpanjang.ac.id
Email : selvikasman@gmail.com

Summary

Weaving as one of the elements of regional culture is spread to almost all areas in Indonesia and
become part of the national culture. One of the weaving comes from Nagari Unggan

This paper describes one of the forms of regional culture that is part of the national culture that has
proven its ability to survive. So weaving can be said as a potential local cultural elements and as a
local genius.

Problems that is faced by the woven today is how to improve the quality of woven products, so as to
contribute maximally in improving the lives of weavers and be able to make the area as a weaving
central.

The methods that is used to improve the woven product quality is developing its motif, the idea is
taken from the community of craftsmen; such as customs, historic relics, the typical natural flora and
fauna from Nagari Unggan and then applied it to the motif design.

It was expected that the further development can strengthens the distinctiveness of woven motif
fabric, so as to compete in the global market. Quality of the woven products has an impact on
increasing the economy level of the craftsmen, and it is able to strengthen the national culture.

Key word: Weaving, local genius, national culture.

 ARTIKEL

TENUN DAN LOCAL GENIUS NAGARI UNGGAN

MEMPERKUAT BUDAYA NASIONAL

Selvi Kasman, Novesar Jamarun, Hamzah

Prodi Musi Fakultas Seni Pertunjukkan ISI Padangpanjang
Jalan Bahder Johan Padangpanjang 27108
Telp. 0752 82077, Fax 0752 82803
Email : isi@isi-padangpanjang.ac.id
Email : selvikasman@gmail.com

Ringkasan.
Tenun sebagai salah satu unsur kebudayaan daerah, tersebar hampir diseluruh pelosok
indonesia dan menjadi bagian dari budaya nasional. Salah satunya tenun yang berasal dari
nagari unggan.

Tulisan ini membahas tentang salah satu bentuk kebudayaan daerah yang merupakan
bagian dari kebudayaan nasional yang telah teruji kemampuannya untuk bertahan.
Sehingga tenun sebagai unsur budaya daerah potensial sebagai local genius.

Permasalahan yang dihadapi tenunan saat ini adalah bagaimana meningkatkan kualitas
produk tenunan, sehingga dapat berkonstribusi maksimal terhadap peningkatan kehidupan
pengrajin tenun serta mampu menjadikan daerah tersebut sebagai sentral tenun.

Metode yang dipergunakan untuk meningkatkan kualitas produk tenun adalah melakukan
pengembangan motif, yang idenya diambil dari lingkungan masyarakat pengrajin; seperti
adat istiadat, peninggalan bersejarah, dan alam flora fauna khas nagari unggan, dan
kemudian diaplikasikan pada desain motif tenun.

Diharapkan pengembangan motif tenun semakin memperkuat kekhasan tenunan,

sehingga mampu bersaing dipasar global. Produk tenun berkualitas berdampak terhadap
peningkatan taraf perekonomian pengrajin, dan mampu memperkuat budaya nasional.

Keyword: tenunan, local genius, budaya nasional.

 INTROUCTION

Weaving craft spread across Indonesia, each of woven has a specification that can
distinguish and characterize each region. Weaving as a one of the elements of culture is a
set that can not be separated from Indoesian people, there must be concern that public
support for nonwovens can survive, so it can be passed on the next generation.
Weaving Unggan as one element of local culture, able to survive amid the
development of the textile industry (foreign culture). The entry of foreign cultural
elements have made woven pressed the start area, and experienced acculturation, but was
able to survive, as one element of culture, thus weaving classified as local genius.
Local genius needs to be explored because of the traits of local culture to be used
as basic tools in a process of modernization. The development of local genius has good
intentions (batiniyah) subjectively and (lahiriyah) objectively. Local genius is cultural
identity, identity/personaity of the nation that caused it is able to absord and process of the
foreign culture based on nature and its own abilities.
According to Toyn bee; the culture will thrive if there is a balance between
challenge and response. If the challenge is too great while the ability to respond is too
small, then the culture will be pushed. Whereas, if the challenge is too small, then the
creativity of the community does not grow. In public life today challenge for
modernization into a cultural challenge big enough so that the people must have the ability
to respond these challenges. The ability to respond will be formed when the local genius
with all stages of life includes orientation, perception, attitude and the way of life that is
grwon from within and manifested objectively. The actual challenge now is in the from of
science and technology, as well as its ability to improve progress through industrialization
by entering the path of peoples lives, so as to create a separate structure which is too
technocratic. The motivated challege necessary to grow the ability of respond to human
centered orientation and humanity.
Related with description above are needed to boost the strength of woven products
as one of the cultural elements that must be maintained and the increased capacity, in order
to achieve progress in communities defined by two criteria ; objectively, mastery of the
world environment through technology, subjectively, development communitys ability to
decide for themselves, in which the two elements are criteria which runs dialectically.
Having the strength in technology in line with the positive attitude and indepedence so that
it will create a advanced society, independent, strong and capable.
 The problems in the weaving are an effort that must be done to make weaving as
one of the cultural elements that have powers in the industry, as well as how to improve
the ability of people weaving of various aspects related to them as weavers.
To answer the issues above need to be done a variety of business development with
the aim to improve the quality of weavers who have the capability of competetiveness, in
order to produce quality woven and able to compete in the global market.

DISCUSSION

Woven clasified as works of art, and based on the physical form is a work of applied
art two-dimensional (bi-dimesion): the works of art that have length and width, and can only
be seen from the one direction.
Woven is one craft that if managed and profesionally done will have a fairly good
economic value that will have impact on the lives of weavers.
Weaving motifs that will be woven is one branch of art that has a specific and
specialized skills in the making. In making weaving motif be required a drawing skills and
the ability to apply the sketch into a motif that has been given extra ornamentation skill in
working craftsmen weave.
Motif development needs to be done to make motifs that already exist so that more
varied and woven can be more diverse, thus indirectly fulfilling consumer demand for motifs
and pattern fulfilled.
The improvement and development of quality motif done to increase the diversity
weaving motif, diversity of motifs woven describes ; composition of the woven ornament
placement, rythm and candence decorative arrangement in wovens, harmony of layout
ornament on a woven, decorative arragement balance in the woven, as well as variations in
the decoration woven that can be used by craftsmen in the fabric weave.
To answer the issues above about product quality improvement and improve the
ability of weavers to produce woven are more qualified to do coaching in several stages;
First, in order to motivate craftsmens creativity in developing weaving motifs, the
development of weaving motifs needs to be done to make the motifs that already exist so that
woven can be more varied and more diverse.
 In developing a design motif using the icon area as the idea of motif development.
The idea of developing motifs taken from the values of the cultural mores of local
communities, flora and fauna typical of the area, the development of motifs beside ensuring
variations weaving motif and the motif development community expected craftsmen have
weaving motifs specific as a characteristic or specification that can be used as unggan woven
identifier that differentiates it from other regions woven.
Motif development is done to foster the creativity of the craftsmens and motivate
them to create a design weaving motifs are always varied, thus avoiding to use the same
motifs over and over again.

DEVELOPMENT STAGES WEAVE DESIGN MOTIF

At this stage craftsmens are given understanding about weaving motifs that they
already use in their woven and give information about development of some alternatives
motifs that can be done starting from an existing motifs. The next step of motif development
is taking on the ideas that have been set previously, all the matter of the ideas that have been
processed, starting from the manufacture of basic sketch of an idea, to give additional
decorative ornament with the aim to increase the aesthetic value of the design motif created.
Some of the motifs are done closer to the actual form of the main idea, because it tried
to maintain the original shape of the main ideas, for example the shape gonjong of rumah
gadang that it should not be transformed. While, some others are only an imitation of the
main ideas and does not resemble exactly the same with the main ideas before, for example
imitation of the animal.
In workmaship weaving motifs also look at the ability of the craftsmen, so that the
motif created will not be difficult for the craftsmen in the process. Hence, the empasis is not
on the complexity of the design motifs produced but on the aesthetic aspect, the beauty,
simplicity, and distinctiveness of a motifs.

There are several developments design motifs ;

 After the motif development completed, then the next step is socialization new design
for the craftsmen, in addition to the development of design motif, the craftsmen also briefied
on the size of the motifs that will be created, layout motifs that will be done on woven fabrics
as well as on a solid match suitable color for each motif that is used. Meanwhile, the
craftsmen also given freedom in creativity in order to produce maximum weaving.

Additionally, whatever steps are done about improving the quality of the weaving still
consider about the commercial viability and market as consumer tastes and also consider
about levels of society who will be the targe tof the woven products, so as to increase the
quantity of sales.

THE IMPACT OF DEVELOPMENT ON THE COMMUNITY DESIGN MOTIF

CRAFTSMEN

The results of motif development is the basis for the weavers to be used and applied to
their woven so that each woven that they produce have a special characteristic woven
craftsmen from the region itself.
The specificity of weaving motifs is expected to improve the quality of wovens that
produced by craftsmen so as to increase the selling value.
Another impact is psychologically motivate craftsmen to keep creative to improve the
quality of their woven, insightful craftsmen on the development of motives that they can do.
Another effect is a positive competition among producers in the creative making of motif or
creative in applying existing motif on woven using ornaments, rhythm or a rhythm
arrangement, the arrangement of balance and harmony of the layout so as to produce more
quality woven.
Motif development can be motivated local people, especially the younger generation
to learn how to weave and can utilize the skills of weaving as capital to be able
entrepreneurship or it can be one of the main alternative employment or second job that can
produce and improve their economy.
Finally, weaving skill will be sustainable for generations, and not lost of the times.
Because generation should maintain the habit of weaving and the senior craftsmen also
obliged to pass on their skills in order to avoid extinction on weaving skill in the society.
CONCLUSION AND SUGGESTION

Diversification woven motif ofunggan fairly well developed, obtaining a positive

response from the artisans, development motifs do a good psychological impact and bring an
opportunity to the craftsmen, and can motivate weavers to improve theirproduct quality.

After developing the motif which the ideas is based on local genius NagariUnggan,
then weaving ungganmotifs become richer and more varied in style of the decoration,as well
as being woven that has distinctiveness and identity of the community supporters who carry
the name of the region to the level of national and even international.

The strengthening of copyright on the design motifs by regional offices

Mengkumham give the legal force to the craftsmen and the affirmation in the public that the
result of the development of design motifs belong to society artisans and for craftsmen from
other areas who want to use a design motifs that should permission from community artisans
Nagari Unggan, in accordance with the rules attached to the copyright holder.

Design motifs that varied and diverse are expected to motivate the community artisans
not to stop or be satisfied with the result that already exist, but continues to constantly
develop the next design motif, still have to be working to develop creativity, to always be
able to survive and have always had the ability to compete with woven products from other
areas.
The motif design development and improvement of human resources (skills of
community artisans) can increase woven products in quantity and in quality.
Weaving unggan quality improvement through the development of motifs, affect the
increased motivation of the community work of craftsmen, increasing the number of orders
woven fabric to be done by craftsmen, the increase in total revenue, in order to reach a better
standarrd of community economy craftsmen.
Coaching is done to craftsmen are expected to produce improved quality of weaving
and development of motifs to create new entrepreneurial and able to compete in globa
markets.
 REFERENCES

Deddy mulyana dan jalaludin rahmat, Komunikasi Antar Budaya;Panduan Berkomunikasi

Dengan Orang-Orang Berbeda Budaya.2006. Bandung: Remaja Rosda Karya.