Author: Roy W. Hamilton, editor. 1998. 183pg. (English).
Publisher: UCLA, the Fowler Museum of Cultural History, California, USA
This volume examines the rich and varied cloth traditions of Mindanao and the Sulu Archipelago. It features a wealth of illustrations, both contemporary and historical. The essays provide an in-depth exploration of the textile traditions of the Bagobo, B’laan, Maguindanao, and Maranao. This is an important book for Southeast Asian textile collectors, historians, and enthusiasts.
Author: Contributions by Harry Truman Simanjuntak, Shigeki Futumoto, Reimar Scheffold, Judi Achjadi and Benny Gratha, 2013, 96pg. (Indonesian & English). Softcover. Catalog
Publisher: Museum Tekstil Jakarta
The exhibition was convened at the Textile Museum in Jakarta from 3rd to 14th September 2013. This scholarly event foregrounded the cultural and historical significance of barkcloth, a textile tradition deeply embedded in diverse societies. The accompanying essays were authored by distinguished experts from the Netherlands, Japan, and Indonesia, each contributing nuanced perspectives on the production, symbolism, and continuity of barkcloth practices. Collectively, these writings illuminate the multifaceted role of barkcloth within ritual, artistic, and everyday contexts, while simultaneously underscoring its relevance to broader discourses on material culture and heritage preservation.
Author: Harry Truman Simanjuntak et all, 2013. 96pg. (English & Indonesian)
Publisher: Bentara Budaya Jakarta & Musium Tekstil Jakarta
His extensive and striking catalog firmly establishes the origins of human clothing in Indonesia and Oceania. The exhibition, presented simultaneously at the Textile Museum and Bentara Budaya—a prominent cultural center—was expertly curated by a talented team that includes Mr. Simanjuntak, an archaeologist; Dr. Sakamoto, a leading conservator and authority on beaten bark paper; Reimar Sheffold, a renowned Mentawai researcher from Leiden; and Jakarta Textile Museum curators Judi Achjadi and Benny Gratha. This book is an essential resource, thoroughly exploring Fuya from Indonesia and Tapa bark cloth from Oceania. It is enriched with vibrant images of bark cloth, clothing, and the tools utilized for crafting cloth from tree bark.
Author: Ruud Greve, 2001, 128pgs. (English). Softcover
Publisher: Zevenster, the Netherlands
In numerous Asian societies, the enduring popularity of Ganesha may be attributed to his benevolent disposition and his profound comprehension of human frailties. The deity’s image is widely cherished, with many individuals possessing a statuette of Ganesha as a symbol of wisdom, prosperity, and spiritual guidance. This book offers a nuanced exploration of the meanings embedded within these statuettes, elucidating the significance of the attributes held in Ganesha’s hands and the symbolism of his mount, the rat. The author enriches the narrative by recounting personal visits to culturally significant sites: the Elephant Cave in Bali, temples adorned with Ganesha statues in Java, museums housing sacred representations, and even a Ganesha statue situated in a Dutch zoo. These encounters are woven into a broader comparative framework, wherein Ganesha is linked to Indonesian wayang puppetry, traditional kris daggers, and even Christian iconography such as St. Nicholas. An extensive bibliography accompanies the text, providing readers with ample resources for further scholarly inquiry into this fascinating Hindu deity. The book thus succeeds not only as a cultural and religious study but also as an ethnographic reflection on the syncretic interplay between Hindu symbolism and Indonesian traditions.
Author: M.A. Corazon Alejo-Hila, Mitzi Marie Aguilar Reyes & Anita Felio, 2008, 279pg. (English). Hardcover
Publisher: En Barong Philipino Inc., Manila, Philippines
The book presents a rich compendium of compelling insights. The term barong tagalog—the traditional formal shirt for men in the Philippines—signifies far more than mere attire; it embodies a cultural garment that accompanies Filipinos through pivotal stages of life, from birth to death. Although widely perceived as timeless, the designation barong tagalog was only formally coined in the early twentieth century, around 1920, evolving from the baro, a pre-colonial garment deeply rooted in indigenous sartorial traditions. A barong meticulously crafted from piña fabric and adorned with intricate hand embroidery exemplifies the pinnacle of artisanal skill, requiring no less than 462 days to complete. Such garments thus stand not only as markers of identity and heritage but also as enduring testaments to patience, craftsmanship, and cultural continuity.
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