The beauty found of Sikka Ikat Weaving is the result of a very complicated process and requires high accuracy in turning imaginationsinto the motif designs on the white yard frame. The coloring process is an art element in combining colors from a single color and from a compound color combinationwhich is the combination of the parts of the colored motif. This process is carried out repeatedly in order to produce beautiful colors.
The community of weavers has natural/hereditary talents from their ancestors, so it is said that it is very difficult for people from outside Sikka to learn weaving skills as practiced by weavers in Sikka Regency.
The tools are made of wood and produced by local people themselves.
The following are several stages of the production process of Sikka Tie Weaving:
There are three stages of the yarn making process commonly carried out by people in the Sikka Regency:
This stage plays an important role because it is very decisive in determining the motifs of Ikat cloth to be made. The way to stretch a plain yarn is called goan kapa, where the yarn spindle is stretched extensively along the reach of an adult woman's hand on a device calledlaing which is a middle wood. Then the motif is made by tying the yarn with goan kappa.
There are only three basic color of Sikka Ikat Weaving, namely: black, blue and dark brown. The process of kojagelo is dyeing white or blue basic yarn in a solution of walnut oil and pecan oil, as well as other ingredients such as papaya leaves, coral tree skin stems, and carbon. This aims to facilitate the noni dyes absorbed properly. Then the yarn is dipped or soaked in the desired dye and must be continously inverted so that the color is evenly distributed.
Loru or weaving: inserting vertical yarnby usinglegu one by one and weaving them using pati with enough force to get tight and strong weaving structures.