Batik Sarong by B9mMB3if


									Pattern Textiles Teacher Notes
Batik Sarong
Woman’s head shawl
Tent doorway hanging

Batik Sarong

Java, Indonesia, early 20th century

Discussion questions

      What motifs can you see within the cloth? Look at the larger image and count
       the number of different repeated patterns you can find.
      How has colour been used on the sarong? What family of colours would you
       call this? What colour is the background? How is white used?
      Which birds or parts of birds can you see on this cloth? Can you find any
      Find out about the stories of Garuda whose wings appear in this piece.

Practical activities

i) Feathers

      Collect together feathers (even real peacock feathers) as inspiration. Look
       carefully to observe the patterns within them.
      Experiment with creating a design based on the feathers, overlapping and
       repeating the motif.

ii) Lace

      The borders of this batik imitate lace patterns.
      Study different pieces of lace, finding out how they were made and how the
       pattern is repeated.
      Experiment with creating rubbings and drawings from pieces of lace collected
       from home.

Extension Activity


The traditional process of making these intricate batik designs:

      The cloth is hung over a frame and the design is drawn on with hot wax.
       Sometimes this is done with a small vessel, other times a stamp covered in
       wax is used as this enables the design to be repeated lots of times.
      The fabric is then dyed - the waxed areas of the cloth resist the dye so stay
       the original colour of the fabric. After the first waxing the fabric is dipped into a
       dye bath whose colour is the lightest tone of those to be used. This dyes
       everything except the areas where the wax pattern was drawn.
      Wax is now applied to those parts in which want to be kept this first colour,
       and the entire fabric is immersed in the second dye bath whose colour is
       darker in tone than the first. This process is repeated until the darkest tone
       required in the final design has been achieved. This creates different patterns
       in layers of colours.
      After the final dyeing the wax is removed. The final lengths of cloth are known
       as Tulis.

Traditional batik is an exciting process, but if you don’t have the equipment, you can
experiment with using a range of different techniques.

      Scanning drawings and printing onto image transfer paper is an excellent way
       of creating group textile images. Cut out design and iron on to fabric.
      Silk painting onto silk or cotton using liners and silk dyes is an exciting way of
       creating pattern in textiles. Use the feather patterns designed above as the
       basis for designs depicted in silk paints.
      Create batik onto paper using wax candles to draw with and dyes to in fill the

Woman's head shawl (ta'jira)

Tamezret, Tunisia, late 20th century AD

Discussion questions

      Identify all the different patterns within this shawl – are they geometric,
       symmetrical, or more like pictures?
      Find all of the following: birds, tree of life/leaves, hand/s, corn, fish, crescents
       (also lucky).
      How many different coloured threads were used to make the shawl? Which
       colour is used the most (the dominant colour)? Which is used the least?

Practical activities

Stitching with wool

      Design your own class hanging full of symbols for good luck and protection.
      Each pupil has a 15 x 15cm square of black material. Divide the class so that
       each child has one of the following four themes to develop: Tree of life, bird,
       fish, hand.
      Each pupil uses chalk to draw a simple pattern based on their theme on to
       their square.
      The designs are then stitched with coloured wools or embroidery thread.
      Experiment with a range of different stitches, study how to create a range of
       different marks – zig zags, squares, chains, arrows etc.
      Sequins and mirrors can also be sewn into the pattern – mirrors were also
       thought to reflect the evil eye.
      The final squares are then sewn together using large colourful stitches by the
       teacher to make a large class display hanging.

Extension activity


      Look around outside for a sturdy forked branch from a tree
      Make a loom from this by tying wool across, starting at the fork and winding it
       out to the ends between the two branches.
      Weave a variety of materials including wool, string, torn up fabric, grasses,
       raffia, plastics etc through the wool loom between the two branches, until
       there are no gaps left.

Tent doorway hanging

From Cairo, Egypt, early 20th century AD

Discussion questions

      How many different repeating patterns can you see on these doors?
      What different shapes can you see?
      What kinds of symmetry does this pattern have?
      What do you think the writing might say?
      Why would families pass on these skills to their children?

Practical activity

Groupwork - a group of 4 creates a doorway

      Each child designs a motif on A6 paper (can be inspired by anything – flora,
       fauna, geometry etc). It should have a strong outline.
      Very carefully, the pupil pricks along the lines of the motif with a compass
       point, creating a template.
      Each group is issued with an A2 sheet – with a long ruler, they reproduce the
       template of the doorway design [See attached Word Document ‘activity
       sheet’ template at top of these notes].
      Together the group decides which motif should go in each section, leaving
       one section – they can choose – for the text. Look carefully at the larger
       image of the tent doorway hanging to see which sections contain the same
      Each pupil then dusts over their motif in their section with charcoal to create a
       repeating pattern. The template is then moved along and the process
       repeated until the section is filled. The patterns are then coloured in – the
       teacher should limit the palette of the colours to either 4 colours, or a colour
      The group together chooses a message to write in the space they have left.
       This could be a greeting, a warning, a proverb or saying. After sketching the
       writing lightly in pencil, they should use a strong colour to write it in.
   Finally they can cut a line (from half way down to the bottom) to suggest
    curtains and even draw what they might see inside the tent.

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