The Function of Kelingkan in Malay Society

Kelingkan , an old Malay needlework art form is an artistic legacy created and utilised by olden Malay society. It is an intricate embroidery technique used to embellish textiles which was pioneered by Malay women. The intricacy of such embroidery art demands high precision and the unique expertise of embroiderers, who utilise gold or silver coated metal tape threads sewn on the surface of soft fabric. The beauty of the structure and variety of ornaments are accentuated in the case of kelingkan for ladies' head covering, which consists of the scarf and shawl, in the shape of a square and rectangular. The question is, how is the kelingkan design created? What is its design purpose? As a result, the author conducts qualitative descriptive research through fieldwork, including observation, interviews with embroiderers, and collection analysis. According to the study's findings, kelingkan embroidery activities in Malaysia have increased since the establishment of Malaya's trading system. There are still active embroiderers in only three states: Sarawak, Selangor, and Kelantan with the square and rectangular designs on the shawl and scarf used as headgear, clothing, rehal lining, bedsheets, takbir decorations, souvenirs, dowry mats, events, wedding ceremonies, a groom's cab and “nasi temuan” ceremony. Cultural functions, aesthetic functions, religious functions, social functions, and symbolic functions are just a few of the identified functions. Through this study, it is also possible to draw the conclusion that the utilitarian component can highlight the distinctiveness and clarify the significance of this needlework art. Implications: The study's findings can be used as a source of information to ensure that this form of art is kept alive in the Malay community. Kelantan. A collection of kelingkan that permits study on the role of kelingkan in the Malay community can be acquired via the interviews and observations made. Only three states in Malaysia retain kelingkan art entrepreneurs, and the purpose behind its creation is revealed by research on the evolution of kelingkan embroidery art.


Introduction
The word "kelingkan" or "keringkam" is derived from the Balinese words "Keling," which refers to a particular kind of fabric, and "Kam" and "Kham", denote beauty (Azran, 2010). According to Febriyandi (2011) and Sarkawi & Abd. Rahman (2014), it is known as manto in Indonesia. France, Turkey, India and Egypt have their own terms for the art. Aziz (2009) asserts that the terms "kelingkan" and "keringkam" are derived from the French word "clinquant," which means "glittering," and that they are referred to as "tel kirma" in Turkey, "Makaish" in India, and "Tally" in Egypt. Tally from Egypt differs from that of other nations because, in contrast to much of Asia or Central Asia, where traditional motifs are used more frequently, tally frequently incorporates themes from local folklore and fairy tales This variety demonstrates how Egyptian metal embroidery is distinctive from that of other nations (Messir, 2009;Abdul Ghani & Zakaria, 2013). The use of the unique kelingkan term from other countries demonstrates the influence of trade due to the use of the same material. The kelingkan assemblage displayed in Malaysian museums reflects the delicacy and beauty of the Malay community, which reflects the meticulousness and precision of the kelingkan embroidery art and is distinct from other countries, despite similarities in materials or mediums. The first privilege in Malaysia is discernible by the different pronunciation that yields the same meaning. The term Keringkam is more widely used in Sarawak (Ismail, 2010(Ismail, , 1996Josmani et. al., 2012;Pawi, 2010;Unin, 2014;Sarkawi & Ab. Rahman, 2014. Terengganu uses the term teringkam or terekam Shawal, 1994;Sarkawi & Ab. Rahman, 2014 while in Selangor and Kelantan, kelingkan is used (Jamal, 1992;Rusli et.al., 2015) and kelengkan (Sarkawi & Ab. Rahman, 2016). Kelingkam dan kelengkang are however, widely used in Kelantan (Sarkawi & Ab. Rahman, 2016). Kelingkan embroidery is a type of needlework used to decorate fabrics that was pioneered by Malay women and is known as Malay handicrafts. The art of kelingkan embroidery employs gold and silver coloured metal tape thread, and only three states, namely Sarawak, Selangor, and Kelantan, still have active embroiderers, albeit on a small scale. The distinctiveness of the kelingkan embroidery art results from the diversity of culture and language of the Malaysian community, which is evident in the variations in pronunciation, or better known by the term; in Sarawak is known as Keringkam, Terengganu is known as Teringkam, Selangor and Kelantan are known as Kelingkan. Through needlework techniques that may define its identity, each of these states creates its unique identity to ensure that the kelingkan embroidery art is produced perfectly and tastefully, high levels of precision and attention must be used during the creation process.
The kelingkan produced especially for the scarf, which hones on the selayah (head scarf) and shawl, the beauty of the structure as well as the decorations are evident in only two designs; the square and the rectangular shape. Therefore, the purpose of this study is to evaluate the distinctiveness of the keringkam art form and debate its beauty in relation to its purpose.

Research Objective
• To describe the development of kelingkan art in Malaysia.
• To analyze the kelingkan embroidery art design in Malaysia.
• To discuss the beauty and function of kelingkan embroidery art designs in Malaysia.

Aesthetic Theory
The term "beauty" describes the perception made by the human eye when it perceives or verbalises the beautiful emotion resulting from something being observed and assessed. God's creation is beautiful, and this is evident. Al-Ghazali claims that the definition of beauty encompasses not only the satisfaction of the senses in a visual sense, but also the enjoyment of the soul, including morality and religion, as components of the beauty that is produced. The theory of beauty is used to express the implicit concept of art. The intended beauty is aesthetics. The word aesthetics is derived from the Greek language which is 'Aesthetic' which means "perceived". The concept of aesthetics is something related to the science of art that explores the effect of beauty referring to the appreciation, impression, affection, moved, comforting and impressed by history, humanity, society, nature, religion and so on (Din, 2016). The theory of beauty that is meant in this study refers to the process of experience and knowledge that is the appreciation of a person in producing a work of art. According to the world of western philosophy, aesthetics is a philosophy within the field of art. The introduction of the theory by a German philosopher Alexander Gottlied Baumgarten, who published Aesthetic in 1750, further developed by another German philosopher Immanuel Kant (1772-1804). These two philosophers' ideas lead us to the conclusion that aesthetics is a study of beauty that serves a function. Beauty for the Malay society is strongly based on the teachings of Islam, not beauty per se. Islam is a beautiful religion that is revealed to all people, regardless of race. In comparison to other creatures, humans are endowed with a variety of privileges, one of which is the ability to think. Humans are inherently drawn to beauty, whether it comes from a man or a woman. As a result, unlike beauty in art, beauty in Islam has its own significance. It is not dependent solely on aesthetic appeal. Al-Farabi (257H/870M-339H/950M), a musically talented individual, defined art as a creation that produces beauty. Artistic creation based on human emotions that cannot be represented verbally or linguistically and must instead be heard and felt by a person's soul (Mahdi, 2001). Islam serves as the primary source of inspiration for all works of art created by the Islamic Malay community. Al-Ghazali, who elucidated the beauty in the creation of a work of art, is the Islamic thinker credited with inventing the idea of aesthetics. He asserts that beauty is not just external beauty but also inner beauty, which is characterised by spiritual, ethical, and religious values. He asserts that there is a connection between art and life. The relationship between art and the world and the hereafter in Islam can be summed up by saying that Islam itself is separated into two goals, namely the relationship for mankind to find some happiness in both the world and the afterlife. According to the second goal, art is a value that is intended to be an adventure in this world leading to the afterlife (Claude Field, 2007). In this study, the art in question is the artwork produced by the Malay community. Therefore, the works of art and the Malay community are guided by the Islamic religion. The art work done by the Malay community has its own concept of art including the theory of beauty. In Malay art, emphasis is placed on subtlety, sculpture, balance, harmony, beauty and tranquillity (Ahmad 1986) but according to Din (2016), Malay art today is not bound to beauty, whether it is meant to be beautiful or not, because in this day and age artworks resulting from rough, non-harmonious works are valued as art by the Malays. As a result, this study emphasises the value of beauty that is felt behind the designs of kelingkan embroidery art, which has its own distinct identity as a result of the production of implicit meaning.

Research Methods
The primary and secondary research methods will be used to conduct a qualitative descriptive study. Fieldwork, including observation, interviews with embroiderers, and collection analysis, was carried out in Malaysia, specifically in Kuala Lumpur, Selangor, Kelantan, and Terengganu, as well as in Sarawak, specifically in Kuching. In the peninsula i. Interview method with embroiderers who are still active in the state of Sarawak, Selangor, and Kelantan. A collection of kelingkan that permits study on the role of kelingkan in the Malay community can be acquired via the interviews and observations made. Only three states in Malaysia retain kelingkan art entrepreneurs, and the purpose behind its creation is revealed by research on the evolution of kelingkan embroidery art.

Research Findings and Discussion
The development of kelingan embroidery art in Malaysia.
The art of kelingkan embroidery is one of the decorative techniques in textiles which refers to 'texere' which means 'to weave' which is weaving or the weaving process. According to Ismail (1990), the textile process has evolved to produce unique and colorful handicrafts, which are textiles that are not only woven but also painted, dyed and embroidered. The embroidery process produced the art of kelingkan embroidery that has enriched the lives of the Malay community. Written studies that record the history of kelingkan embroidery art are not recorded but through previous studies, notes from western colonialism, embroiderer collections, journals and oral research data tell the history of kelingkan during trade in the Malay islands. In her travelogue "My life in Sarawak" (1986), Lady Margaret Brooke discusses textiles and clothes that show how the Sarawak community practises the skill of kelingkan embroidery. Margaret Brooke describes the wearing of Selayah kelingkan (Keringkam) and songket Sarawak. A photo of Lady Margaret Brooke sporting a kelingkan scarf among the wives of officials from Sarawak serves as proof that kelingkan embroidery existed and is still on display at the Sarawak Textile Museum. According to Suwati (1989), the Malays are known to have manufactured embroidered as early as the 14th century AD, when they were actively trading textiles with Arab nations like Persia, Portugal, China, and India. The trade that took place marked the beginning of the introduction of raw materials from China and India, including thread, metal tape, and silver (Robyn, 1994). The history of kelingkan embroidery art activities in Malaysia has evolved since the existence of the trading system in Malaya, according to research and writing by earlier researchers (Ismail, 1995;Rusli et.al., 2015;Sarkawi & Ab.Rahman 2016;Amri et.al 2017). The technique of gold embroidery was formed during the 15th century Malay sultanate of Melaka, according to Din (2016), and it developed in accordance with a commerce system that connected together two lines or bands, namely the west and the east (Ismail, 1995). According to Amri et.al (2016) there are three factorsfactors that influence the development of the kelingan embroidery art in Malaysia, which are "trade and colonialism", "the government and the rulers" and "the modernization process of the country". These were noted by western researchers especially in relation to clothing, namely the researcher Crawful (1967) in relation to clothing which is "useful art" in (History of Indian Archipelago, 1967). The Malay: His Custom, Prejudice, Art, Language, and Literature in British Malay: An Account of the Origin and Development of British Influence in Malaya in 1929 by Sir Frank Swettenham did not specifically discuss clothes but rather the utilisation of materials, shapes, functions, and symbols. Several other earlier publications that discuss clothing and textiles mention Leonard Wrap (1908); Skeat (1902); Sheppard (1976 & 1980), while Rane Margaret (1913); Robyn (1994), who is significant authorities on related textiles, and discuss the Malaysian tradition of the kelingkan embroidery. Looking at how the kelingkan embroidery evolved in the past, it all began in the palace, and the embroiderers who are still active now are largely descended from royal families, and they are the ones who have contributed information to the general public up until this point.
While the kelingkan embroidery technique has changed in Malaysia, the technique was once reserved for the elite and used to reflect grandeur. According to Ismail (1995), the development and production of kelingkan needlework within the palace has made it an essential component of cultural events. Because of this, even though the price of kelingkan embroidery is expensive, costing one thousand and beyond, and was formerly solely used by the noble class, it is now also used by the common people. According to demands from clients and kelingkan aficionados, teachers and kelingkan embroiderers in Sarawak mentioned in interviews that cost depends on pattern design and the difficulty of completing kelingkan embroidery.

Analysis of Kelingkan Embroidery Art Design in Malaysia
The beauty of the structure and the variety of ornaments that are only found in two designs, square and rectangular, are highlighted in the production of a kelingkan, especially for the head covering, which is the shawl and the scarf. This raises the question of the purpose of the design. Consequently, a description of the design analysis for the Malaysian kelingkan embroidered art is provided. There are two types of tudung kelingkan in Malaysia: Selayah (veil) and shawl (Shawal). Selayah kelingkan is a piece of cloth that is typically draped over the shoulder or worn on top of the head. The veil measures 95 centimetres in length and 55 cm in width. Selayah is shorter than a shawl, which typically has measurements of 158 x 77 cm. The image below displays a sketch of a selayah and a shawl with an illustration to demonstrate the size difference.
Researcher with Sarawak state embroiderers wearing the selayah kelingkan. Source: 2016 field study Researcher with Sarawak state embroiderers wearing the selayah kelingkan. Source: 2016 field study The researcher along with the Kelantan state embroiderer wears a kelingkan shawl. Source: 2017 field study

The beauty and function of kelingkan embroidery art designs in Malaysia.
This function value provides an overview of the function value in terms of the design employed in the kelingan embroidery technique. The results of the meaning of the value of beauty, which is the value of function in kelingkan embroidery, are shown in Table 4.30. In the Malay society, each art form, particularly those that are connected to art, has a certain purpose. The fulfilment of vital daily functions. In the fourth edition of the Hall Dictionary, "function" or "functional" refers to something that has or is assigned certain tasks. In this context, the term "function" refers to the usage of an art in daily life. In order to preserve and further the tradition, Ismail (1990) stated that the production and use of textiles that refer to the embroidery art suggests that textiles are clothing materials that are not only seen in clothing but also in terms of functionality, symbols, and the beauty of the tradition. In order to demonstrate the significant value of the function of the art of kelingkan embroidery, which has developed and should continue now so that this art does not perish this study discusses the function of the craft in the past and present. Rectangles and squares created by the kelingkan embroidery technique are used for a variety of purposes, including head coverings, clothing, rehal pads, bed sheets, takbir decorations, souvenirs, dowry mats, gatherings, wedding ceremonies, groom's cab, and the "nasi temuan" ceremony. Written notes by Aziz (2009)  One can learn about kelingkan in Malaysia by highlighting elements of the structure's beauty and the variety of ornamentation via the description of patterns and designs. The making of kelingkan raises the question of what purpose lies behind its design, particularly for selayah and shawls. As a result, research is conducted on the role of kelingkan in society. In order to determine their use, this study only examines square and rectangular scarves and selayahs, which are used as head coverings. It was possible to analyse the function of kelingkan in Malaysia through field research by placing categories of use to discover the function in the art of kelingkan embroidery in Malaysia. Table 4.31 depicts an analysis of the kelingkan function in Malaysia.  Table 4.32 shows two designs in the shape of a square and a rectangle that refer to tudung kelingkan, which are selayahs and shawls that are used as head coverings, clothing, rehal pads, bed sheets, takbir decorations, souvenirs, dowry mats, social gatherings, wedding ceremonies, the bridegroom's cab and the ceremony of eating "nasi temuan". Eleven uses of the kelingkan embroidery technique were identified, and results indicate that these uses serve the cultural, aesthetic, religious, social, and symbolic functions in the Malay society.

a) Cultural Function
The term "cultural function" describes how clothing and scarves serve a particular cultural purpose in a society. In this research, emphasis is placed on selayah kelingkan and the shawl as head coverings. The primary purpose of clothing, including scarves, is to conceal the body, thus Malay people of all ages wear clothing. In the past, tudung kelingkan embroidery, a form of kelingkan embroidery, was used to cover the head during royal ceremonies. When participating in a ceremonial or a big ceremony during the Malacca Malay sultanate's rule, kelingkan embroidery was employed. Before approaching the Sultan, the ceremony of royal magnificence must be conducted in ceremonial attire. To cover the head, this kelingkan embroidery is employed. It is deemed disorderly if the dress code is not adhered to by not covering the head (Ali, 1990). The shawl and selayah, also known as the keludung or headscarf worn by Malay women in the past and now, are two different types of headwear made with kelingkan embroidery. In the state of Sarawak, selayah is more wellknown, and on the peninsula, scarves are more popular. A selendang kelingkan is typically worn on the shoulder or just next to the shoulder. A photograph of Ranee Margaret Brooke and a Malay woman-Rajah Puteh's wife-who was an upper-class Malay woman who covered her head with the traditional kelingkan embroidery with gold thread-was discovered during field study at the Sarawak State Textile Museum. According to Margaret, the accessories, the selayah and the kelingkan scarf, came from Mekah, which are pieces of thin cotton fabric placed on an oval frame that is firmly embroidered with gold thread. In the Sarawak Textile Museum, there is information that states that most of the motifs found in the art of kelingkan embroidery are borrowed from textiles that have been woven or printed. The finishing of the side of the scarf or selayah also has a finishing with needle lace or better known now as the bamboo shoots. In the past, baju kurung and baju kebaya were also made with the needle lace motif. Nowadays, the majority of Malay people choose to wear scarves and selayah kelingkan.

Religious Function
In terms of attire, the kelingkan embroidery has a lot in common with the Islamic faith. To cover the head, or more precisely the "aurat", a selayah kelingkan is worn. In the past, the art of kelingkan embroidery was used to cover the head and as a rehal lining or mat. For instance, there is a record through photographs that depicts the Sarawak Malay community participating in the Al-Quran khatam ceremony in 1950 while covering their heads with a shawl and a selayah by wearing "sarong jong" in the book of Malay woven textiles, The Beauty of Traditional Nusantara culture by (Ismail, 1990). Only photographs from the past can truly capture the beauty of wearing shawls and selayah, unlike today.

c) Aesthetic Function
According to Din (2016) aesthetics is aesthetics that refers to a technical term that brings a 'sense of beauty' or beauty in an art. Aesthetics also refers to the theory of aesthetics in the field of art in western thought. This aesthetic function refers to aesthetics in the design of apparel, shawls or selayah, bed decorations, decorations for drumming activities, and souvenirs, such as home wall decorations. All of this use aesthetics to demonstrate the use of kelingkan embroidery as a decoration that heightens the beauty of something or an event. As a result, it can be said that the kelingkan embroidery technique is employed to impart attractiveness and beauty. The art of kelingkan embroidery is also discovered in the form of sheets, which are a personal collection of Kelantan embroiderer Nik Marhammah Binti Nik Idris, through field research done in Kelantan with Kelantan embroiderers. This aesthetic value can be observed in ornaments like sheet-based bed decorations.
Picture 4.33: Picture of a bedroom using a kelingan in 1965 Source: Field Study When a public ceremony is held, the ornamentation of the takbir (drumming) in the stripes serves an aesthetic purpose. According to an official from the Sarawak Branch of Malaysian Handicraft Development Corporation., the practise of kelingkan embroidery was once employed for takbir adornment in addition to Malay women's clothes. It is typically used to adorn the takbir when Malay community events, such as the drumming ritual, are held. Kelingkan embroidery is applied throughout the event with the goal of beautifying the stage, particularly the square-shaped shawl cloth used as a decoration behind the takbir. The stage is covered with songket fabric in addition to the kelingkan scarf. A lot of kelingkan is used to make the stage appear magnificent and opulent. However, with the advancement and modernity of Malay society today, the aesthetic function is also highlighted in the decoration of souvenirs such as home wall decorations. Souvenirs related to the art of kelingkan embroidery are one of the innovations carried out by embroiderers to preserve the art of kelingan embroidery. The kelingkan embroidery that is created is similar to a wall decoration for a home, complete with a little kebaya clothing decorated with kelingkan embroidery, a kelingkan selayah, or kelingkan scarf. The goal of this souvenir is to spread kelingkan embroidery art throughout the Malay community. The cost of souvenirs is less than that of selayah, shawls, or clothing embroidered with kelingkan, all of which are exclusive to the wealthy Malay population. The cost of kelingkan embroidery depends on the complexity and intricacy of the pattern and can range from one thousand and more.
Picture 4.34: Souvenir items such as home wall decorations, tissue containers and small decorative pillows Source: field study

d) Social Function
The term "social function" refers to the employment of the kelingkan during a ceremonial event to demonstrate status, wealth, beauty, and Malay customs. Because only family and wealthy people wore kelingkan in the past, the art of kelingkan embroidery also represents a person's status. With time, there have been adjustments, such as the ability for non-relatives or, more commonly, regular people, to wear kelingkan. This is due to the kelingkan symbolic meaning of the wearer's wealth and its limited use. Even though they are being created on a limited scale, the Malay people developed many Malay artworks in the past that are still in existence today. Women gathered for the celebration and engaged in embroidery-related activities. A collection of images depicting Malay women weaving, with particular reference to Picture 4.35, (Aziz, 2009). While this practise is still carried out now in a different way, kelingkan needlework is taught to the next generation through programmes or seminars, or it is used to boost the revenue of the Malay community. This may also help preserve embroidery as a craft and prevent it from being swept away by the tide of modernity. The wedding, which includes the bridal gown and the ritual of visiting the in-law's home, is the second social event. The most well-known social function of the kelingkan embroidery craft is still practised today, whether it is for weddings by donning a kelingkan scarf in Malaysia or a Sarawakian Malay bridal gown. For the people of the state of Sarawak, the bride wears a selayah kelingkan as a head covering or a wedding dress called a "Gajah Olen" during the wedding. The selayah is pinned to the bride's shoulders and is only seen on the bride's shoulders and back. The Semanjung Malay community wears either a conventional baju kurung or a songket attire while using a kelingkan scarf as a head covering for weddings. Typically, there will be a visit to the in-law's residence after the wedding, and to appear more courteous, the community also wears kelingkan embroidery to look more opulent and distinctive than on regular days. Carrying the bride and groom to the marriage ceremony, is a social duty based on custom, particularly in the Malay community of Sarawak. A "cab" on which the groom is carried to the wedding ceremony serves as a" door opener". The groom should provide the bride her "cab". A fight or a martial arts fight will take place here to capture the bearer, and the man must defend and hand it over to the woman, and the wedding will then continue with the ceremony of eating "nasi temuan". According to an official at the Malaysian Handicrafts Development Corporation, Sarawak Branch, one of the unique aspects of kelingkan embroidery art in Sarawak is the nasi temuan ceremony found at Sarawakian Malay weddings, which is passed down from generation to generation. This ceremony is only performed by wealthy people who performed the "makan bersuap" known as adat. In olden days, it was believed that if the woman "feeds" first in the rice-eating ceremony, the man would be controlled by his wife, and if the man "feeds" first, the man would become the head of the family. This was the belief of our forefathers in the past, but there is no such belief in Islam.
Picture 4.36: Wedding photos that Malay women wearing kelingkan in the past and now. Kelingkan is worn by the bride and the guests attending the wedding ceremony Source: field study.
Picture 4.37: Pictures of the groom's "cab" for the wedding ceremony Source: field study

e) Symbolic Function
The final function is a symbolic function, in which the art of kelingkan embroidery can be associated with certain symbolic meanings such as suppleness, delicacy, splendour, and femininity. These symbolic values are closely related to clothing because the art of kelingkan embroidery is very important in Malay society, particularly among Malay women. Historically, society did a variety of things that each had their own meaning and symbolism. For example, wearing selayah to cover the head symbolises wealth because the art of kelingkan embroidery costs RM1000 and more today, and in the past, only the king's relatives wore the art of kelingkan embroidery. This demonstrates that only people with high incomes can own the art of kelingkan embroidery because it is a very valuable and expensive art.

Conclusion
To summarise the art of kelingkan embroidery, it is a Malay community art with unique characteristics. The production of kelingkan embroidery emphasises many aspects of the structure's beauty and the variety of decoration. The analysis of the function of the kelingkan in the Malay community should be studied in order to provide knowledge that the Malay community in the past created a handicraft art that had its own purpose and function because the Malay community has a soul and a high level of expertise in everything it creates. The privilege of kelingkan embroidery art should be preserved through a variety of programmes, such as holding kelingkan embroidery seminar classes for the Malay community as a source of income rather than just to gain knowledge, because the kelingkan embroidery art can be done at home and can also be used as an activity or hobby in the spare time. A kelingkan scarf can cost up to a thousand ringgit or more. If this proposal is implemented, it has the potential to eliminate poverty, fill free time, generate income, and serve as a parttime job for the young generation, SPM graduates, single mothers, the unemployed, and the elderly. All of the efforts made allow the art of kelingkan embroidery to live on and give birth to a new generation of embroiderers throughout Malaysia, not just in the states of Sarawak, Selangor, and Kelantan.