We have been ticking off the items on Mas Nashir’s list as fast as we can, our time being so limited and the absolute, cut-in-stone deadline being the opening of Fiber Face 3 exhibition on 12 February. Luckily Nashir has made an initial first edit and so we could also use this trip to amplify visual themes that he has developed. The close tie between weaving and nature is one of them; Muara’s beauty seemed to lend itself to this emphasis.
|Muara has stunning views|
|Filming in a rather bird-like way|
|Perched on a rock, filming cotton from the heavens.|
|Boru Hasiagan played by Nai Evi, a weaver of harungguan textiles|
The next morning, he discovered that a piece of grass had infiltrated his camera behind the lens and it marred all of his images. I encouraged him to re-shoot the scene rather than spend the hours that it would take to remove that offensive blotch from each frame of the film. Our kind Nai Evi was patient and willing. And it was not a painful procedure for anyone to return to the scene of such beauty. Even the little children who go to the hill after school to try to earn a penny or two from tourists by selling drinks and chocolate bars were approaching us more bravely and not running away or covering their faces with their bags if we aimed a camera at them.
|The second day was more clear than the first.|
It must have been those wonderful textiles in combination with the view of the lake that inspired Restuala, Goodman and Nashir to become Tiga Raja. They dressed up in the cloths during the break between the shooting of Boru Hasagian, the first weaver, and the textiles of Raja Ihat Manisia, the apical ancestor of all Bataks, posing as great raja of the past, overlooking their ancestral lands. I took an irresistible photograph of this comic but also nostalgic moment. I also couldn’t resist mimicking Mas Nashir and circled around them, camera in hand, pretending that I was filming them while doing dance and gymnastics. It seems to me that he is having the most fun!