Fabric of Life: Sarong

Fabric of Life: Sarong

by Manjeet Dhillon
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Fabric Of Life: Sarong

Sarong, which means “to cover” or “to sheath,” made its way through narrow straits, to our shores and much of Southeast Asia, The fabric is brought to life by the shapes and motions of human bodies. Sized as a rectangular textile, the ends are sewn together to form a tubular garment, deftly secured at the waist or under the arms. Either by bringing both ends towards the centre or pulling the sarong to one side of the body and folding the remaining fabric to the front. The top can be rolled down and smoothly tucked in. 

The earliest known depiction of a sarong is a 15th century relief from the Prambanan temple complex in Java, Indonesia. The relief depicts a scene from the Ramayana, an Indian epic poem. In the relief, a character named Hanuman is depicted wearing a sarong (located on the east side of the Kapitalan (balcony). It is part of a larger relief that depicts Hanuman’s battle with Indrajit, the son of Ravana). This suggests that the sarong was already in use in the Malay Archipelago by this time. The earliest known mention of a sarong is in a 16th century Malay text called the Hikayat Hang Tuah. This text describes the sarong as a common garment worn by both men and women in the Malay Archipelago.

Often referred to as “sarong kain” or simply cloth sarong, is a true chameleon in the fabric’s versatility. This piece of fabric has a knack for transforming everyday items into something extraordinary. From “sarong kaki” or “sarong palong: for stockings to “sarong kris” giving character to knife sheaths, it effortlessly adds a touch of charm to the mundane.

This fabric, is known by various names across Southeast Asia, sarong or sarung in Brunei Darussalam, Indonesia, Malaysia, and Singapore; sampot in Cambodia; phaa sinh in the Laoa; longyi in Myanmar; malong, tapis, or patadyong in the Philippines; xà-rông in Viet Nam; and pha kao ma (for males) and pha tung (for females) in Thailand.

The sarong has a rich history, with its origins dating back to Arab and Indian traders who braved the seas and monsoons. Historical records reveal that just two years after the East India Company took control of Penang, there was a notable surge in Muslim traders. Alongside spices and attar perfume, sarongs were among the goods they traded. Fast forward to the 1950s in Penang, and the humble sarong played a pivotal role in the rise of tailoring services along Acheen Street. The reason? An unsewn batik sarong attracted customs duties when leaving Penang, while a sewn one was duty-free.

In its most common forms, is made from cotton, either a piece of batik fabric or  or pulicat (kain pulicat). For those unfamiliar with its history, the kain pelikat has its origins in the 17th century, hailing from the region of Pulicat or Pazhaverkadu in Southern India. Interestingly, it was the Dutch who exported this fabric from India to Southeast Asia, where it was warmly embraced by local communities, particularly Malay men. The versatility of this cloth is astounding; it served various functions, from baby hammocks to curtains and even bed sheets.

The sarong is a garment that transcends gender, its rich non-linguistic elements, as well as its role in everyday attire, are aspects that have sometimes been overlooked or underestimated. Notably, the way a woman wore her sarong conveys significant information about her marital status. The positioning of the headpiece, known as the “kepala sarung,” held the key: worn in front signified an unmarried status, while wearing it behind indicated marriage. A widow would wear it to the left, and a divorcee to the right.

Worn as a full-length skirt, the sarong lends an air of grace upon its wearer, each step exuding elegance. As it gracefully drapes, it slightly parts, permitting longer strides with an inviting allure. Upon closer inspection, the intricate patterns tease you, leaving behind the unmistakable imprint of the artist’s hand. It’s as if you can almost feel the precise touch of the canting tool, as it swiftly and steadily delivers a stream of wax onto the fabric, crafting a masterpiece of artistry and tradition.

Inspired by the sarong’s cultural significance and duality, “Sarong Trails” embraces the spirit of Southeast Asia, weaving stories across time and cultures. Like the sarong, we, as cultural curators, share these tales, whispered to your ears, hoping to etch lasting memories of ties that bind. Our conversations invite you to explore the intricate tapestry of heritage and syncretism that shapes our lives, revealing the deep-rooted traditions and sacred elements that bind us together. Sarong Trails shares this connection with you through a series of journeys that explore your perceptual thoughts, bringing to life the traditions and sacred structures that continue to define our way of life.

“In a scene from a royal wedding, we witness the ritualistic role of the sarong in uniting the bride and groom. Here, the esteemed ruler of Palembang, Demang Lebar Daun, orchestrates a ceremonial lustration, a sacred prelude to the marriage. As the prince and his bride prepare for their symbolic purification bath, a moment of great significance unfolds. The prince gracefully unwraps his towel and adorns himself in the regal splendour of his royal sarong, known as the “darapata darmani.” In perfect harmony, the princess dons her sarong, called the “burudaimani.” This enchanting display of cultural tradition marks the beginning of their sacred union.

Reference:

  • Muslim Merchants and Traders in Penang, 1860s–1970s by Mahani Musa, Badriyah Haji Salleh, Journal of the Malaysian Branch of the Royal Asiatic Society, Vol. 86, No. 2 (305) (December 2013), pp. 33-58.
  • Malaysian Batik Sarongs: A Study of Tradition and Change, Thesis by Rafeah Legino, M.A. Art and Design (Research) (UiTM, Malaysia).
  • Journal of Material Culture 12(1) – The Secret Life of Sarongs Manggarai Textiles as Super-Skins by Catherine Allerton, Department of Anthropology, London School of Economics.
  • Frictional Fire-Making with a Flexible Sawing-Thong. by Henry Balfour, The Journal of the Royal Anthropological Institute of Great Britain and Ireland, Vol. 44 (Jan. – Jun., 1914), pp. 32-64.
  • Gittinger, M.S. (1982). Sarongs: Traditional Indonesian Textiles. Textile Museum.
  • Holt, Claire. (1967). Art in Indonesia: Continuities and Change. Cornell University Press.
  • Maxwell, Anne. (1990). Textiles of Southeast Asia: Tradition, Trade and Transformation. Thames & Hudson.