Man's mantle or shoulder cloth

A man's cloth with mamuli motifs on the edge. The mamuli is an omega shaped ear ornament and a symbol of female sexuality. In the Kodi district, the iconography of the cloths refers to the male gifts exchanged for the cloths at weddings. \Such cloths are rarely worn, only by very rich and noble men. It is primarily a shroud for adult men of high birth. The cloth shows the skin of a python (ngoko) in the middle. Snakes and other reptiles are associated in Kodi legends with ancestral gods and the afterlife. The ability of a snake to change its skin is seen as a symbol of rebirth. The cloth is seen to serve the deceased as a new skin in their journey to the afterlife. \Robyn Maxwell; Textiles of Southeas Asia. Tradition, Trade and Transformation. Oxford, New York, Toronto, Oxford University Press. 1990 All Kodi cloths are executed in the colors white on a blue background. They play an important role in the exchange of gifts at weddings and funerals. To strengthen social ties within a community and especially between the families of the groom and the bride, gifts are exchanged that are labeled "male" and "female" respectively. The groom's family brings together metal objects, as well as slaves and horses; the bride's family fabrics, beadwork, servants and pigs. At funerals of high-ranking people, the gifts, which often included hundreds of fabrics and gold objects, were displayed. Later, many of these items are buried with the deceased. (Adams, 62)-Multi-colored hinggi are worn only by men of the highest class, their servants wear blue and white cloths. The importance of this tradition is expressed in one of the myths. The island is connected to the sky and the bottom of the sea by a bundle of warp threads (the umbilical cord). As a result, the inhabitants of the middle of the island are not allowed to weave. Pulling the lever of the loom up and down to introduce the weft wears out the warp threads. Weaving not only weakens the warp threads of the weaver's fabric, but also those of the cosmic loom. That is why we taboo in the middle. If the warp breaks, the island falls into the sea. The art of weaving is mainly practiced in East and West Sumba. The multicolored ikat cloth from East Sumba enjoy a great fame and appreciation in the West. \The art of weaving is so important because the cloths help to shape social life. Having an extensive network of relationships can only be achieved through the ceremonial exchange of gifts, of which textiles are an important part. Spinning, weaving, braiding , in general attaching materials to each other are activities that are associated with the establishment of relationships, of marriage relationships and by extension with the generation of life. Spinning and weaving are compared to having and raising children.‖ East and West Sumba have different weaving traditions. In East Sumba, multicolored fabrics are made, in West Sumba blue and white cloths.\The best known Sumba fabrics are the multicolored ikat cloth with large motifs from East Sumba. But also other decoration techniques, such as the application of motifs using additional warp threads are used. Especially pencil skirts for women are decorated with this technique. The multicoloured cloths often have a ceremonial function. Daily clothing consisted of dark dyed cloth without decoration. \Hinggi' are cloths for men. They have ikat motifs on the warp threads. Hinggi come in two or more colours. Lau' are tube smoking for women. Wearing multicoloured fabrics was mostly the privilege of the East Sumbanese aristocracy. In the course of time there were changes in the design system of these men's cloths. S. Roos, an administrator in the service of the colonial government on Sumba (1866-1869), was one of the first to mention the use of multicoloured fabrics on ceremonial occasions (Adama, 1969, 94). At the beginning of the twentieth century, Dutch researchers such as J.A. Loebèr and G.P. Rouffaer developed an interest in Sumba cloth and a large collection (ca. 100) was assembled by G.K. Wielenga (now at the Wereldmuseum). Due to the increased wealth of the East Sumbanese aristocracy (through the horse trade) and the emergence of an external market, the production of paintings increased in the first half of the 20th century (Adams, 1969, 94ff.). Sumba cloths became a commodity, as many cloths as possible had to be made as quickly as possible. Instead of hand-spun yarns and natural dyes, the weavers started using imported cotton yarns and aniline dyes. Also, the 'kabakil', the woven termination of the warp threads, was applied less and less frequently, and the fringe was provided with ikat (Adams, 1969, 87, 106). All this had consequences for the execution of the motifs until the 21st century. The small, fine motifs cost too much time, larger and less detailed patterns are the result. Also old pattern schemes are abandoned and replaced by completely new interpretations of the surface of the cloth. For example, in the 1980s, the traditional layout of motifs, where the cloth consists of two mirrored halves, is abandoned and cloths are produced that tell a story, as it were, from top to bottom (Forshee, 1999, 46). \Manufacture The motifs are applied by means of ikat on the warp threads. Ikat comes from 'mengikat' which means to bind. In this technique, prior to the weaving process, the warp threads are divided into small bundles and folded together. The motifs are then bound off using raffia or other material in the places where the paint must not penetrate. This process is repeated depending on the number of colours required. After dyeing, the binding materials are removed, the bundles of warp threads unfolded and placed on the loom and the cloth can be woven. In Indonesia, this was and is done on a lap loom with circular warp threads.\nThe cloth is finished on the short sides with a so-called 'kabakil', a woven band.