Reviving Tradition Through Design: Exploring Telepuk Craft Woodblock Design

Authors

  • Muhaimin Amat Sairin Centre of Design Studies, Faculty of Innovative Design and Technology, Universiti Sultan Zainal Abidin (UniSZA), Gong Badak Campus, 21300 Kuala Nerus, Terengganu, Malaysia
  • Shahrul Anuwar Mohamed Yusof Centre of Design Studies, Faculty of Innovative Design and Technology, Universiti Sultan Zainal Abidin (UniSZA), Gong Badak Campus, 21300 Kuala Nerus, Terengganu, Malaysia
  • Sharih Ahmad Mohamad Centre of Design Studies, Faculty of Innovative Design and Technology, Universiti Sultan Zainal Abidin (UniSZA), Gong Badak Campus, 21300 Kuala Nerus, Terengganu, Malaysia
  • Nor Ziratul Aqma Norzaman Centre of Design Studies, Faculty of Innovative Design and Technology, Universiti Sultan Zainal Abidin (UniSZA), Gong Badak Campus, 21300 Kuala Nerus, Terengganu, Malaysia
  • Addy Putra Md Zulkifli Centre of Design Studies, Faculty of Innovative Design and Technology, Universiti Sultan Zainal Abidin (UniSZA), Gong Badak Campus, 21300 Kuala Nerus, Terengganu, Malaysia
  • Amirul Fahmi Razali Centre of Design Studies, Faculty of Innovative Design and Technology, Universiti Sultan Zainal Abidin (UniSZA), Gong Badak Campus, 21300 Kuala Nerus, Terengganu, Malaysia
  • Khairun Nisa Mustaffa Halabi City Graduate School, City University Malaysia, Seksyen 51A, 46100 Petaling Jaya, Selangor, Malaysia
  • Mohd Syafiq Zolkeply Department of Computing, Sheffield Hallam University, Sheffield City Centre, Sheffield S1 1WB, United Kingdom

DOI:

https://doi.org/10.37934/araset.62.1.198211

Keywords:

Telepuk traditional craft, Design intervention, Design for sustainability

Abstract

The traditional textile craft in Malaysia has yielded a plethora of remarkable fabrics. Among the most exquisite Malay textiles is Telepuk Textile. However, the Telepuk craft has dwindled in popularity and demand over time. The laborious production process reliant on Telepuk woodblocks has impeded the development and revival of this craft. No woodcarvers currently produce Telepuk woodblocks as part of their repertoire. Artisans also grapple with the challenge of producing Telepuk cloth in substantial quantities and introducing innovative designs without new Telepuk woodblocks. This study delves into the design strategy to rejuvenate the declining Telepuk craft. Employing a mixed-method research approach, we collected primary data through semi-structured interviews with experts. We conducted a quantitative survey to evaluate proposed designs and analyse pertinent secondary data. In summary, this research yields three critical findings for revitalising the Telepuk craft: (i) Harnessing the intrinsic value of traditional crafts like Telepuk can heighten awareness among the younger generation. (ii) Collaboration between designers and artisans emerges as the linchpin of the craft's revitalisation strategy. (iii) Transforming the production process and introducing innovative designs for Telepuk woodblocks can expedite the development of Telepuk craft production using current technology. The forces of globalisation and escalating demand for mass-produced, homogeneous items have fuelled a yearning for more meaningful products, particularly those imbued with cultural significance. The revival of lost crafts, such as Telepuk textiles, aligns with sustainable design principles. This study contends that the resurrection of traditional crafts like Telepuk necessitates incorporating appropriate technology and pragmatic design to uphold cultural heritage, enhance production processes, and cater to contemporary demands. The new Telepuk woodblock designs have been rigorously tested and developed based on survey results. The resulting designs must strike a practical balance between contemporary technology and artisanal craftsmanship. The suggested revitalisation strategies can be adapted incrementally and selectively, contingent upon the capabilities of the artisans.

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Author Biographies

Muhaimin Amat Sairin, Centre of Design Studies, Faculty of Innovative Design and Technology, Universiti Sultan Zainal Abidin (UniSZA), Gong Badak Campus, 21300 Kuala Nerus, Terengganu, Malaysia

muhaimin.amat97@gmail.com

Shahrul Anuwar Mohamed Yusof, Centre of Design Studies, Faculty of Innovative Design and Technology, Universiti Sultan Zainal Abidin (UniSZA), Gong Badak Campus, 21300 Kuala Nerus, Terengganu, Malaysia

shahrulanuwar@unisza.edu.my

Sharih Ahmad Mohamad, Centre of Design Studies, Faculty of Innovative Design and Technology, Universiti Sultan Zainal Abidin (UniSZA), Gong Badak Campus, 21300 Kuala Nerus, Terengganu, Malaysia

addyputra@unisza.edu.my

Nor Ziratul Aqma Norzaman, Centre of Design Studies, Faculty of Innovative Design and Technology, Universiti Sultan Zainal Abidin (UniSZA), Gong Badak Campus, 21300 Kuala Nerus, Terengganu, Malaysia

ziratulaqma@unisza.edu.my

Addy Putra Md Zulkifli, Centre of Design Studies, Faculty of Innovative Design and Technology, Universiti Sultan Zainal Abidin (UniSZA), Gong Badak Campus, 21300 Kuala Nerus, Terengganu, Malaysia

addyputra@unisza.edu.my

Amirul Fahmi Razali, Centre of Design Studies, Faculty of Innovative Design and Technology, Universiti Sultan Zainal Abidin (UniSZA), Gong Badak Campus, 21300 Kuala Nerus, Terengganu, Malaysia

amirulfahmi@unisza.edu.my

Khairun Nisa Mustaffa Halabi, City Graduate School, City University Malaysia, Seksyen 51A, 46100 Petaling Jaya, Selangor, Malaysia

khairun.mustaffa@city.edu.my

Mohd Syafiq Zolkeply, Department of Computing, Sheffield Hallam University, Sheffield City Centre, Sheffield S1 1WB, United Kingdom

s.zolkeply@shu.ac.uk

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Published

2024-10-14

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Articles