Ragi Exhibition Revives Fading Malay Weaving Patterns

By Norhidayyu Zainal

KUALA LUMPUR, April 6 (Bernama) — Amid the tide of modern fashion driven by industrial fabrics and global brands, traditional weaving endures as a refined heritage, not only visually captivating but also rich in meaning and cultural identity.

In Malay weaving, this beauty is shaped through ragi, a foundational arrangement of patterns that forms the structural basis of motifs on fabric.

In line with this, the exhibition RAGI: Visual Rhythms of Malay Tenun, held at HARTA Space in Ampang here, showcases the personal collection of Khairulanwar Rahmat while opening up a space for the public to rediscover ragi patterns that are increasingly overlooked.

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“Ragi carries two main meanings: the process of colouring fabric through the arrangement of threads before dyeing, and the checkered or grid-like patterns that underpin many traditional weavings. These include variations such as layered ragi, overlapping ragi and single ragi.

“This exhibition aims to reintroduce ragi patterns so that our weaving industry can draw inspiration from them in the future. Most people are familiar with songket, batik, limar and telepuk, but this time I am highlighting a lesser-known textile element — ragi patterns,” said Khairulanwar.

He said this to Bernama after the exhibition’s opening ceremony, which was officiated by the daughter of the Sultan of Pahang, Tengku Puteri Raja Tengku Puteri Afzan Aminah Hafidzatullah, here recently.

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Also present were prominent fashion figure and founder of the Islamic Fashion Festival Datuk Seri Raja Rezza Shah Raja Aman Shah, and HARTA director Mirsham Meer.

Running from April 4 to 30, the exhibition features about 40 textile pieces, some dating back hundreds of years, encompassing various types of weaving such as limar, Bugis weave and karat keruping, all centred on ragi patterns as the primary motif.

Khairulanwar, who is also a researcher of Malay arts and culture, hopes the younger generation, particularly emerging designers, will reconnect with local textile heritage to ensure its continuity and appreciation.

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“…we are gradually losing our identity as we lean more towards commercial brands. These designs are a national treasure. Today’s generation must learn and carry them forward so that we retain our own identity,” he said.

Khairulanwar, who has collected over 800 pieces of textiles across various weaving traditions since 2012, said his interest in collecting traditional fabrics began from an awareness that many old  textiles were being neglected and no longer valued.

“Each of these weavings is handmade, carrying patterns, stories and intended meanings. Every colour has its own narrative; yellow and white were once reserved for royalty, while red was derived from natural kesumba dye. Certain lines also indicate who was permitted to wear them,” he explained.

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As part of preserving the collection, he said each fabric is rolled and stored in acid-free paper to ensure its longevity and protection from insect damage.

“I never fold them, as folds can damage the fabric, causing deterioration in those areas and affecting its durability,” he said, adding that damaged textiles require conservation processes that can take several months to complete.

He stressed that such efforts are vital to ensure Malay weaving heritage is not forgotten, but instead appreciated and passed down to future generations.

To further safeguard this heritage, Khairulanwar has also produced a catalogue book titled RAGI: Visual Rhythms in Malay Weaving, published by HABIB and sold at RM70 per copy.

-- BERNAMA