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Noken multifunctional knotted or woven bag, handcraft of the people of Papua marks_1
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  • Manage No, Sortation, Country, Writer ,Date, Copyright
    Manage No EE00000090
    Country Indonesia
    ICH Domain Oral traditions and representations Performing Arts Social practices, rituals, festive events Knowledge and practices about nature and the universe Traditional craft skills
    Address
    Noken handcraft in its various forms is found among the people spread among the seven areas of traditional customs of Papua: Mamta, Saireri, Domberai, Bomberai, Ha-Anim, La-Pago dan Me-Pago. in the Provinces of Papua and West Papua, Indonesia.
Description Noken is a knotted net bag or woven bag made from wood fibre or leaves, sometimes coloured and decorated. Noken is a traditional handcraft of all communities of Papua and West Papua Provinces, Indonesia. The day-to-day function of large size noken is for carrying plantation produce, catch from the sea or lake, wood, babies, small animals, shopping, etc., and for hanging at home to store things. Small size noken is for carrying personal effects such as betel nut, food, books, etc. Noken may be used to cover the head or body. For nearly all (275/311) respondents, noken is an accessory to their traditional dress, and according to most (290/311) is used in traditional ceremonies or celebrations, such as marriage proposals, marriage ceremonies, initiation of children, appointment of community leaders, welcoming guests and for keeping sacred heirlooms.. Among mountain communities, noken had been given along with other presentations to make peace between disputing parties. Drs. H. Rahimin Katjong, Deputy Governor of West Papua, recalled wearing a small noken containing betel nut etc at the time of his appointment as a traditional community leader at Fak Fak, West Papua. Nearly all (276/311) respondents explained that noken is used by all age groups, and most (282/311) observed that noken is used by both sexes. As soon as babies learn to walk, their mothers give them a small noken containing food such as sweet potatoes, thus instilling the habit of carrying one’s own needs, which may also be used to help others, inside a noken which is always close at hand. Three quarters of respondents (235/311) said that noken is generally made by women-- ”the Mamas of Papua”--usually adults according to most respondents (250/311). Women thus play a special role in safeguarding noken culture. At Epouto village in Paniai District, we found male orchid-noken craftsmen. Asmat community men also make noken. Most craftspersons make noken in their spare time from agriculture, fishing, and household duties, though some make noken full time. Noken making goes on yearround, but will increase in times leading up to traditional festivals. The method of making noken varies between communities. A basic outline is as follows. Branches or stems or bark of certain small trees or shrubs are cut, sometimes heated over a fire, and soaked in water for some days. After soaking, only wood fibre remains. The Dani/Hugula in Wamena peel bark from sticks of certain trees and then beat the sticks till only fibres remain. The wood fibre is dried, and then spun with the palm of the hand on the thigh of the craftsperson to make a strong thread or string, which is sometimes coloured using natural dyes. This string is knotted by hand to make net bags with various patterns and sizes. The same technique is used to make vests, hats, belts, etc.. In Paniai District we find noken interwoven with special decoration made from fibres from yellow, brown and black. orchid stems. Besides knotting, there are communities which make noken by weaving tree bark, wood fibre, pandan leaf, young sago leaf, or grass from swamps. Some select grasses with contrasting colours (Inanwatan, Metemani, Kais and Kokoda (Imeko) communities). Maybrat community craftspersons colour the fibres with natural colours. The fibres, leaves or grass are woven in various attractive patterns with symbolic meanings. To make noken requires great manual skill, care, artistic sense and inner satisfaction. Craftspersons often make noken while singing traditional songs of Papua. To become proficient in making noken takes up to several months of informal training. A skilled noken craftsperson will be much appreciated within her (or his) community. The diversity of making, wearing and use of noken continues to develop and be recreated as the response of the people of Papua to nature and their environment.
Social and cultural significance Nearly all respondents (296/311) said that forms, patterns, local motifs and colours of noken made by each ethnic community in Papua differ, indicating cultural diversity. Noken is part of the cultural identity of each ethnic community and of the people of Papua. Prominent people in the community sometimes wear noken with special patterns and ornaments, indicating their social status. The majority of respondents (289/311) acknowledge that noken is a part of the customs of their community, and most (292/311) stated that noken was part of their cultural heritage. Nearly all respondents (297/311) considered that noken was related to the life views of the people of Papua. Some examples mentioned were self-reliance and the habit of helping others. Noken is referred to as a ”moving house” which contains all needs. Noken is considered a symbol of female fertility, a good life, and peace. Nearly all respondents (300/311) stated that if they wore or made noken, they felt they were carrying on the tradition of their forefathers. Many people of Papua who live outside Papua still carry their noken, which may have been made by their own mothers, to remember their family, their villages and their places of birth. Noken culture does not contravene international instruments on human rights, or sustainable development. Noken may be worn or used by anyone, and is often given as a sign of friendship, and even as a gift to create peace. All respondents (311/311) explained that noken is traditionally made from wood fibre, grass or leaves which grow easily, so their harvesting does not damage the environment.
Transmission method Practically all respondents (294/311) explained that people learn to make noken from their parents. Young girls learn to make noken informally from their own mothers or grandmothers, or boys from their fathers or grandfathers in the case of Mee or Asmat community members. Until now, this has been the method of transmission of noken culture. Very few respondents said that they had learned to make noken at school, as very few schools teach noken at present. Nearly half of respondents (131/311) observed that the number of people wearing or using noken is diminishing. In cities and places where markets sell goods from outside Papua, fewer people wear noken. Three quarters of respondents (235/311) noted that people in Papua have begun to prefer to use imported bags rather than noken which is part of their traditional customs. This is much evident in the field, especially among young people. Markets visited, eg. Oyeye Market, Nabire and Manokwari Market, almost all of the merchants were only selling modern imported bags. In Jayapura, we found but a few noken craftspersons selling noken on the side of the street. Only in Wamena market in the central mountains we did find a special section dedicated for sale of noken and other traditional handcrafts. Many craftspersons reported difficulties in selling the noken which they had made. If people’s interest to make, buy, own and use noken fades and eventually disappears, then sooner or later no more craftspersons will make noken. Presently the frequency of Noken transmission is diminishing. a majority of respondents (270/311), including even noken craftspersons in villages, mentioned children being busy studying at school (sometimes far from their homes) as a factor causing children to have no time to learn how to make noken from their parents. Over half of respondents (166/311) observed that the number of noken craftspersons is decreasing. Field observations confirmed that noken craftspersons are few and mostly decreasing. For example, in Kwadeare, West Sentani, the number of noken craftspersons is presently just 10 persons. In Biak Island, we found no more than 10 ladies in two groups, most of whom were already elderly, still making noken, In Mokwam village, Arfak, there remain just 4 active noken craftspersons. In Wamena we found a few tens of noken craftspersons, in two groups. During our research, only in Epouto, Paniai, we did find noken craftspersons in a rather large number in one place. At Wayer, South Sorong district, the local government and the community have made exemplary efforts to support the craftspersons, causing their numbers to increase. However, even in Wayer, the craftspersons number only a few tens of ladies – still small in comparison with the population. The ladies here also reported difficulties in selling the noken bags which they had made. One threat causing the number of noken craftspersons to decrease reported in several places was difficulties in obtaining raw materials for making wood fibre. According to a majority of respondents (193/311), wood fibre raw material is becoming increasingly difficult to obtain. We noted in several places that many craftspersons were switching from wood fibre which takes a long time to spin into string, to using imported factory-made plastic or nylon cord. This is very visible at Gaya Baru in Manokwari city, where almost all the ladies use plastic cord to make noken. In Wamena District, especially outside the town, we noted that many people still wear and use noken; however, most of the noken made there are from plastic cord. Some may say that switching to plastic cord is a time-saving adaptation or innovation. On the other hand, plastic cord is expensive, non-biodegradable, imported and sold by people outside the local communities. Changing from the local natural cord spun from wood fibre or leaves is also considered a loss of some of the original cultural values of noken. Another reason cited for the decrease in the numbers of noken craftspersons is a lack of awareness of the importance of safeguarding noken cultural heritage. Four-fifths (251/311) of respondents remarked that nowdays noken is made more for sale than for traditional customary use. This indicates a shift in the function of noken from a tool for transportation and storage related to customs and traditions, generally made for one’s own use, to become a commodity of trade with economic value, to be sold to others. In South Sorong many of the craftspersons interviewed made noken in the hope that they could sell their crafts to help the economic condition of their families. The pace of development and modernization in the provinces of Papua and West Papua, the influence of modern media such as television, video, internet, video games etc, and marketing of modern factory made bags in almost all of the markets are factors causing the people of Papua, especially the younger generations, to have decreasing interest in the old cultural heritage, including noken. In summary, factors threatening noken, which evidence a need for its urgent safeguarding, include: lack of awareness of noken cultural heritage; weakening of traditional transmission of noken skills and culture from parents to children; children busy with studies and noken practically not being taught in schools; decreasing numbers of noken craftspersons; competition from modern factory-made bags; problems in easily and quickly obtaining traditional raw materials; and shifts in cultural values of noken.
Community All ethnic communities in all seven culture areas in Papua and West Papua Provinces have the noken traditional handcraft. For example, the Sentani, Dani, Yali, Mee, Biak, Arfak, Maybrat, Ayvat, Moni, Asmat, Irarutu, Tehit, Moi, Moli communities, as well as others. There are at least 250 ethnic communities spread throughout Papua and West Provinces. The noken community consists of those who use noken, of all age groups, both male and female, and noken craftspersons who are generally women, “the Mamas of Papua”, adult to aged. There are also male noken craftsmen among the Mee and Asmat communities, and male lovers of noken culture.
Type of UNESCO List List of Intangible Cultural Heritage in Need of Urgent Safeguarding
Incribed year in UNESCO List 2012

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