Women Embroiders

Abstrak Sebuah negeri yang dikenali sebagai Bumi Kenyalang ini merupakan salah satu negeri yang menarik pelbagai perhatian pelancong untuk ke negeri ini. Selain itu, menurut Yaacob (2013) Melayu Sarawak juga berasal daripada golongan peribumi yang memeluk Islam hasil daripada aktiviti perdagangan dan asimilasi sosiobudaya ini menjadikan imej mereka sebagai " Melayu ". Dengan kekayaan budaya dan keunikan serta kreatifnya masyarakat di sini menggamit mata dan rasa untuk megetahui lebih mendalam lagi rahsia negeri ini. Kepelbagaian peribumi di Sarawak telah mendorong kepada hasil kreatif seni oleh masyarakat mereka sendiri. Kajian ini dijalankan kerana pengkaji ingin mendalami keunikan masyarakat di Sarawak ini sendiri dengan mengenalpasti penjahit sulam cabut dalam kalangan masyarakat Sarawak ini. Kajian ini merupakan langkah yang baik dalam menonjolkan salah satu keunikan masyarakat Sarawak kepada negeri luar. Pengkaji akan menyenaraikan setiap satu corak yang terdapat dalam penghasilan sulam cabut. Selain itu, pengkaji juga mendokumentasikan strategi pemasaran sulam cabut agar mendapat sambutan baik di dalam Sarawak mahupun luar Malaysia. Dengan menggunakan kaedah kualitatif, temubual dijalankan bagi mendapatkan data kajian. Data kajian diperolehi dengan menggunakan dua teknik iaitu teknik bola salji dan teknik ketepuan data.

Fossils from around 5000 and 6000 B.C. in Serbia had animal hides with elaborately done shells stitched with decorative designs on it. The famous Chinese embroidery goes way back to 3500 B.C., who used silk thread, precious pearls, and stones in different works. In Sweden, the earliest finds of embroidery are from the Viking Age, around the 9th and 10th centuries.

This article discusses the late works of two women Holocaust survivors, Esther Nisenthal Krinitz and Ilana Ravek, as seen through the prism of the artistic reconstructing of a life story. Their life stories are expressed in works depicting their Holocaust experiences together with additional "rehabilitation" works illustrating elements such as their childhood before the Holocaust, their establishment of families afterwards, their experience of parenthood and grandparenthood, their successful resettlement in their new countries and their acquisition of a new national identity.
Each of these artists' work represents a different approach to the construction of a life story. Nisenthal Krinitz's art works exemplify a linear narrative approach, displaying a sequence of events arranged chronologically in an interrelated plot at whose centre stands her Holocaust story, wrapped by works depicting her life before and afterwards. Ravek's works, which are not limited to her Holocaust experience and its ramifications, demonstrate the second approach, which requires far more active involvement on the part of the viewer. Both artists' life stories express a conflicted ambivalent consciousness, as tragic depictions coexist side by side with images of rehabilitation. The enfolding of the past in the present assists them in their reconstruction of a consecutive identity that has a past, present, and future and enables them to give meaning to their life after their survival.