Brocade pattern in Chakleng village (My Nghiep village)
Connected Heritage – A Cultural Heritage project aimed at
Equal development
Brocade pattern in Chakleng village (My Nghiep village)
Table of contents
Heritage address

INTRODUCE

Brocade patterns can be found on most traditional Cham costumes. From head scarves to belts, waists, wrists, skirt hems, and sometimes even a ceremonial dress are covered with brightly colored motifs inspired by familiar images in daily life. Brocade weaving has long held an important position in Cham families, mainly performed by women, to contribute to the family economy. This trace can be found in folk literature works such as Ariya Kabbon Muk Thruh Palei Poetry The Homeland's Nest, excerpt: 


“Anuk throm hakak throm dwon

Happy New Year!

I'm so happy I'm so happy

Throm bita-it, straw bipagaih

I'm so happy

Mugru daum pioh tal hu pathang

The boat is in the water

Tol hu pathang muay jwai cakauh…”

Translation: 

I practice measuring and weaving.

The right book to teach girls

When I want to practice

Practice hard to become proficient.

I am looking for a smart person

Learn by heart and wait until you get married.

Remember to bring it for use.

When you have a husband, don't forget...

Ms. Lam Nu Minh is currently the deputy director of the Cham My Nghiep Brocade Weaving Cooperative, in charge of technical and product aspects. She used to be a doctor, but when she retired, she decided not to open a private clinic but to collaborate with the Cooperative. Ms. Minh's mother recently passed away. When she was alive, her mother was a well-known brocade weaver. Ms. Minh shared: 

“First, the person who wants to create a product must have a plan in advance, prepare how much thread to weave that product, how much floral thread, how much background thread. After setting up the loom, I then weave the flowers, then start weaving. Weaving the flowers is the most complicated step in the whole process because each type of pattern has its own way of weaving, if the weaving is wrong, the pattern will not take shape. To create a new pattern requires a lot of effort. So when I no longer do the right-handed job, I want to do something so that what my mother knows will not be lost, so that I can pass it on to my daughter in the future.”

The way of weaving – that is, the way of separating and folding threads to create patterns – is passed down from mother to daughter in the family. If a family stops weaving, the patterns in the family will be lost. Without efforts to synthesize, preserve and teach, the traditional motifs of Cham brocade will most likely only exist on finished products. Cham brocade weaving products are very diverse in function, but mainly have two main forms: long loom I love you so much  produces narrow pieces of fabric, which can be used for skirt waistbands, scarf hems or belts; short loom I'm so happy creating large pieces of fabric used as scarves, skirts or as a fabric for clothing. Originating as a craft to serve domestic needs, the traditional patterns of Cham brocade have developed to the point where they can be used to indicate the gender, age, and social status of the wearer. Each pattern has its own story and purpose, and is generally understood in the community as a set of conventions with traditional values.

The story of village brocade patterns Chakleng introduced by Mr. Phu Van Ngoi and Ms. Lam Nu Minh. The images and stories also have the contribution and sharing of artisans and girls, sisters who are studying brocade weaving at My Nghiep Cooperative, Phuoc Dan town, Ninh Phuoc district, Ninh Thuan province including Dat Thi Nam, La Thi Xuan, Luu Thi Em, Luu Thi Kim Tuyen, Thach Thi Loan, Thien Thi My Thuan, Thien Thi Nga, Thuan Thi Trao, Truong Thi Quyen, Thiet Thi Trang, Quang Thi Cuc, Van Thi Bach, Van Thi Thang. 

All information posted in the Connecting Heritage Digital Collection is contributed by the community and is for reference only. The Program is not responsible for any differences from the information stated in the Digital Collection and disclaims any liability arising from the use of information from this Collection. For more information, please visit Community Rules.

IMAGE

Bingu mưta kagaik – Sawtooth pattern

Simulating the sawtooth shape, this pattern has wide application when combined as a border for jih, which is a small skirt waistband. When combined with the chicken eye pattern, it becomes jih, mưta mưnuk. The product is woven on a long loom with four patterns forming a strip.

Bingu haraik – Vine

The pattern simulating the vines used in the past was used as a tie, woven in strips into pansa - the edge of the sheet covering the deceased for both men and women, in the funeral there are four monks performing the ceremony. The color is usually white thread with red or yellow thread, the lower part is made of brui silk tassels with the color combinations of white - red, or white - red - yellow - blue. Bingu haraik is also used to weave into khan mbanh jih used as the horizontal border of skirts or mourning clothes for men aged 80 and over, or into hlang mu tham used as the vertical border of the sheet covering the deceased for both sexes. In this form, bingu haraik is woven with many available formulas, appears denser, can use white thread or metallic gold thread to make the pattern.

Beans

The pattern simulates the shape of a bean, a popular crop in Ninh Thuan. Bingu bauh rabai is used as the hem of a female burial cloth, usually with white thread combined with red or yellow thread, and the lower part of the hem is fringed. The product is woven on a long loom into strips.

Bingu Ganwơr Mưtri đắk Cagwơr – Lord Shiva riding a pheasant

The pattern recreates the image of the god Shiva holding a cup of fire in both hands, riding a pheasant, the symbol of fire and the sun god. Fire and god Shiva carry the spirit of destruction and creation in parallel, symbolic in the religion and mythology of the Cham Brahmins. The product is made on a long loom operated by two people with a pre-designed formula for separating and arranging the patterned threads, used as wall hangings, messenger bags or shoulder purses.

Bingu Poingu Inưgirai – Dragon

The stylized dragon image appeared on Cham architectural decoration and ceramic sculpture since living and interacting with the Vietnamese community. This pattern was made with a pre-designed method of separating and arranging threads, due to its complexity, the weavers could not memorize the formula. The product was made on a long loom in strips, operated by two people at the same time.

Bingu bimong – Pyramid pattern

Champa tower architecture has always been the pride of the Cham people. The tower pattern clearly simulates the 3-layer structure of the actual Champa tower, restored by artisan Phu Thi Mo from an ancient pansa sheet. The product is woven on a long loom with 13 go - using go sample number 7 as the center point so that the pattern has symmetry left and right, top and bottom. The finished product is in the form of a strip, currently used as a guitar strap or shirt border depending on the size.

Bingu mưta mưnuk – Chicken Eyes

Chicken is often used as an offering in the Cham people's sacrificial customs, because the Cham people do not use pork or beef. This pattern is expressed in many different color combinations, sometimes used to weave the border across the waist of a monk's skirt to form jih mưta mưnuk, sometimes used to weave the border along the hem of the skirt with white tassels to form nrang mưta mưnuk used for monks or the elderly. Woven on a long loom in strips, the border of the pattern can have many different colors depending on the weaver's preference.

Bingu ritaih – Four-petal flower

This pattern is somewhat similar to bingu kamang, because of its different layout and color, it can be used on ordinary people's clothes, appearing on women's skirts. The product is woven on a short frame for wide fabric, the pattern appears on the right side of the fabric on the frame. The weaver will use two bamboo sticks called bingu balls to arrange the silk thread layout to create the pattern.

Bingu kamang – Popped rice, popped rice or sticky rice

Popcorn or sticky rice is an offering that often appears in Cham rituals from large to small. Bingu kamang is woven into a blanket or skirt called aban kamang, only for muk rija to wear when performing ritual dances in the clan, not appearing on any other product. The prescribed color for aban kamang is black background with white stripes - red or black background with white stripes, white patterns. The product is woven on a short loom on the wrong side of the fabric, the pattern will appear on the right side below the frame. Only postmenopausal women or the muk rija of the clan can weave aban kamang, the weavers also have certain taboos.

Bingu Huong – Con Trao

The Trao pattern, which means the Champa dragon or Ciim Hong, is a sacred image in the ancient Champa people's thinking. This pattern is woven into the bi-yor hep, the hem of women's skirts used in large funerals, in which four monks participate. The product can have a red thread background, the flower color is white or white-yellow-green-blue, changing according to the square. The product is made on a long loom in strips, decorated with white tassels.

Bingu takuai katrau - Pigeon beads

This pattern mimics the sparkling beading on a dove's neck. Bingu takuai katrau is often used to interlace or border other patterns on the same design, woven on a long loom in strips.

Collection of 6 different patterns, pattern names from left to right: Bingu takai asuw, Bingu tamun, Bingo gơr wak, Bingu blung, Bingu kacak, Bingu mưnwis.

Bingu takai asuw - Dog's Paw This pattern imitates the leaves of the dog's paw plant, also named for the shape of the leaves that resemble dog's paws, and has roots and seeds that are used as medicinal herbs. Bingu takai asuw is often combined with bingu tamun, a diamond pattern, used on funeral covers or belts for remains, and this pattern can also be used in daily life. The product is made on a long loom in strips. Bingu tamun - Diamond The basic diamond pattern is used as the background for head scarves, belts or woven into fabric for clothing. Bingu tamun can be arranged as a single tamun, double tamun or tamun wang - wang means to surround. The product is woven on a long loom in strips or a short loom to make large fabrics. Bingu gơr wak – Boat anchor hook Reflecting the importance of the maritime industry in the ancient people's mind, the image of the boat anchor hook was brought into traditional Cham costumes in the form of patterns. Gơr wak is flattened and interspersed with tamun, which is a diamond pattern, and takai asuw, which is a dog's paw pattern, on belts, tablecloths or other daily necessities. The products are made on long looms in strips. Bingu blung - Bubble The lantern tree used to grow wild around the village, and was fondly called a bubble by children. Bingu blung often appears on hems or belts, woven on long looms in strips, combined with other basic patterns. Bingu kacak – Lizard Kacak is the Cham name for the lizard and also the name of the devil's thorn tree, or thorny seed grass, which often grows along the central coast. This pattern is usually woven into products on long looms in strips, with a simple layout using dark thread as the background and white thread as the pattern. Bingu mưnwis - Human figure The pattern simulates the human form, usually woven on men's belts. This pattern is one of the basic patterns that every ethnic weaver needs to know, including tamun, diamond pattern; takai asuw, dog's foot pattern; blung, bubble pattern; mưnwis, human figure pattern. The product is woven into long looms in strips.

A collection of 3 different patterns, the names of the patterns from left to right: Bingu tamun, Bingu takai asuw, Bingu tamun - Qua canarium, Bingu gơr wak. On both sides of the border are Bingu mưta mưnuk patterns. This pattern is woven on a long frame consisting of 18 gooses, of which 14 gooses weave the three inner patterns, the remaining 4 gooses weave the patterns on both sides of the border and is often used as a two-layer belt.

Bingu tamun - Diamond The basic diamond-shaped pattern is used as a background for head scarves, belts or woven into clothing fabric. Bingu tamun can be arranged as single tamun, double tamun or tamun wang – wang means to surround. The product is woven on a long loom into strips or a short loom to make large fabrics. Bingu takai asuw - Dog's paw This pattern imitates the leaves of the dog's paw tree, also named after the shape of the leaves resembling a dog's paw, whose roots and seeds are used as medicine. Bingu takai asuw is often combined with bingu tamun, a diamond pattern, used on funeral covers or belts for remains, and this pattern can also be used in everyday life. The product is made on a long loom into strips. Bingu gơr wak – Boat anchor hook Reflecting the importance of the maritime industry in the minds of the ancients, the image of the boat anchor hook was brought into traditional Cham costumes in the form of patterns. Gơr wak is flattened and interspersed with tamun, which is a diamond pattern, and takai asuw, which is a dog's paw pattern, on belts, tablecloths or other daily necessities. The products are made on long looms in strips. Bingu mưta mưnuk – Chicken eyes Chickens are often used as offerings in the Cham people's sacrificial customs, because the Cham people do not eat pork or beef. This pattern is expressed in many different color combinations, when used to weave across the waist of a monk's skirt to form jih mưta mưnuk, when used to weave along the hem of the skirt with white tassels to form nrang mưta mưnuk used for monks or the elderly. Woven on long looms in strips, the border of the pattern can have many different colors depending on the weaver's preference.

Chih Muk

This pattern has no equivalent translation. This pattern is often used to hem skirts or shirts. This go can be woven into the bingu mưta mưnuk pattern, which is a chicken eye pattern.

Tuk Muk

This pattern has no equivalent translation. This pattern is usually woven on a short frame and made into panels, used as blankets or skirts for Cham women.

Portrait of a weaver at work

Ceremonial dress

In addition to producing and trading traditional Cham textile products, My Nghiep Cooperative has collected a number of costumes of Cham Brahmin dignitaries and is currently displaying them in the Cooperative's space. Mr. Phu Van Ngoi, Director of My Nghiep Cooperative, shared: “The costumes of Cham Brahmin dignitaries are extremely diverse and rich. Each monk will have his own costume to easily identify his rank. In recent years, before the Covid-19 pandemic, the Cooperative has welcomed many tourists and some guests asked me why I don't use more costumes of my ethnic group to promote and attract customers. I always think about this question and from there, I cherish the desire to systematize the costumes of the Cham people to share information with community members as well as visitors to visit and work with the Cooperative. This is a way to preserve traditional products, thereby contributing to spreading the good values of Cham culture in the community. In 2021, during the social distancing period due to the Covid-19 pandemic, the work of the Cooperative slowed down a bit, so my fellow members and I sat down and realized this wish. That was the idea, but when we started implementing it, we encountered some financial difficulties. In addition, in the opinion of some people, this kind of display is more suitable for a museum or research center than for the Cooperative, a place for production and trading products. Therefore, I organized many meetings, meetings and exchanges to convince people as well as met with dignitaries for advice, then also went to learn about the experience of displaying in museums in Ninh Thuan and Binh Thuan provinces. The special thing about this collection is that instead of using statues or wooden display stands, we made ceramic statues modeled after the dignitaries. These ceramic statues were made in Bau Truc village, a prominent traditional handicraft village of the Cham people. I am very happy because with this idea, I have successfully combined and introduced two traditional crafts: brocade and pottery. After launching, I am very happy that people have welcomed it, tourists as well as researchers highly appreciate it. Therefore, I have more motivation to continue and add daily costumes of the Cham people."

Poadhia – The whole monk

Poadhia, whose Vietnamese name is Ca Su, is the highest-ranking person in the Cham Brahmin class. Poadhia's costume includes a khan mutham taibi headdress, a white aw kwah dress, a khan banchih patterned blanket, a taley kaing tamun belt, a red siep phon shoulder scarf, and a yellow kadung shoulder scarf.

Mr. Kadahr - The Two-stringed Fiddler

Ong Kadahr's Vietnamese name is the teacher who plays the two-stringed fiddle or the teacher who plays the instrument. His role is to guide the arrangement of offerings, play the kanyi, and sing hymns during the ceremonies. When performing the ceremony, Ong Kadahr wears a khan mutham taibi headdress, a white ao dai with slits aw sah, a blanket with a khan banchih pattern like the monk, a taley kaing mata mannuk belt, and a red siep phon scarf and a yellow kadung shoulder scarf.

Mr. Mâduen - The clapping teacher

Ong Mâduen is known in Vietnamese as the clapper. During the ceremonies, he will guide the arrangement of offerings, beat the Paranưng drum and sing hymns. The ritual attire includes a khan mutham taibi headdress, a aw shirt with trumpet buttons, a khan murang blanket, a siep likay cam shoulder scarf, and a white ta ley kaing bon belt.

Mr. Bong - Mr. Bong

The shaman's outfit includes a mutham taibi scarf, a white aw bon shirt and a red aw phon shirt, in which the white shirt is worn inside and the red shirt is worn outside, along with a murang khan blanket, a taley ing mata manuk belt and a red siep phon shoulder scarf.

Muk Pajau – The Spirit

Muk Pajau is a Cham shaman. During ceremonies, she wears a khan hluh scarf, a white aw sah dress with an orange aban skirt, and a handkerchief to hold a siep phon.

Muk Rija – The Dancer

Muk Rija is a female shaman or a shaman of the clan. When performing a ceremony, Muk Rija's ceremonial attire includes a matham kamay scarf, a red ao dai aw phon kamay orange, a blanket skirt aban orange and a red handkerchief siep phon.

VIDEO

Video interview

Loading more
Was this article helpful?

Leave a Reply

Your email address will not be published. Required fields are marked *

MAYBE YOU ARE INTERESTED
DSC_5549
The ritual of cutting hair of the Cham Ba-ni
ImageVideo
giếng cổ
Ancient well of Cwah Patih village (Thanh Tin village)
untitled (16 of 39)
Ancient Cham texts
untitled (15 of 17)
Songs and dances in Cham rituals 
untitled (4 of 52)
Cham Pabblap
ẩm thực
Traditional Cham cuisine
Chia sẻ di sản
Share your project
Be a part of the project, participate in your local heritage contribution!
Log in

Log in