Author: Murdijati Gardjito & Karina, Rima Melati, Editors. 2020. 304pg. (Indonesia)
Publisher: Global Pustaka Utama Yogyakarta & PPBI Sekar Jagad
This volume, published by Sekar Jagad in Yogyakarta, offers a comprehensive exploration of the etymology of "batik." Contrary to the previous belief that the term originated from "titik" (which means dot), Manu Widyaseputro, a prominent philologist specializing in Javanese culture, convincingly argues that it derives from "tika" (which means drawing). The book presents various perspectives on batik and emphasizes the important preservation efforts being undertaken by different groups. It features insightful articles from dedicated experts in the field.
Author: I GUSTI WINARTA, 1986. 60pg. (Indonesian)
Publisher: Wina Letter, Tabanan, Bali (digital print)
This small booklet presents some traditional Balinese art patterns.
Author: Joy Totah Hilden, 2010. 270pg. (English)
Publisher: Arabian Publishing Limited, United Kingdom
The author discusses the weaving techniques of the Bedouin in relation to their transitional lifestyle as they shift from centuries of nomadic living to becoming either semi-settled or fully settled. Her work is particularly relevant today, as many tribal communities are losing their cultural traditions, along with their crafts and essential materials for everyday life in the desert.
Author: unknown, 2002, (Mandarin), Hardcover & sleeve.
Publisher: unknown
Bei Shan (背扇), also known in some regions as Bei Dai, is a broad Chinese term referring to traditional baby carriers used by the numerous ethnic minority communities of Guizhou Province. Literally meaning "back cloth," the bei shan is characterized by its distinctive fan-shaped form and occupies a central position in the material culture of motherhood among many of the region's indigenous populations. More than a utilitarian object, the bei shan constitutes an important component of a woman's trousseau and serves as a tangible expression of maternal identity, kinship obligations, and intergenerational continuity. It accompanies women throughout their daily activities, including agricultural labor, household chores, visits to relatives and friends, and participation in communal and ceremonial events. Within the cultural traditions of Guizhou's minority groups, the relationship between mother and child is imbued with profound emotional, social, and moral significance. Children are regarded as the continuation of family lineage and collective ancestry, while mothers invest considerable effort in nurturing their future prosperity, social success, and well-being. From an anthropological perspective, the bei shan functions as a form of materialized affection and ritual protection. Women often begin constructing a bei shan long before marriage or childbirth, transforming the textile into a repository of hopes, blessings, and ancestral values. Through embroidery, appliqué, batik decoration, and symbolic ornamentation, the carrier becomes imbued with auspicious motifs intended to ensure fertility, health, prosperity, and spiritual protection. As such, the bei shan transcends its practical function and becomes a powerful medium through which cultural knowledge, cosmological beliefs, and maternal aspirations are transmitted across generations. The diverse ethnic groups of Guizhou, including the Miao, Bouyei, Dong, and Shui, possess distinct histories of migration, settlement, social organization, and cultural adaptation. These historical experiences are reflected in the regional variations of bei shan design, construction techniques, decorative vocabulary, and symbolic meanings. Consequently, the study of baby carriers provides important insights into broader processes of ethnic identity formation, cultural resilience, and the preservation of indigenous traditions. Structurally, a typical Guizhou bei shan consists of a central rectangular body panel attached to four straps that secure the child to the caregiver's back or front. The interior section is commonly reinforced with multiple layers of durable cloth that provide physical support while maintaining warmth and comfort for the infant. Although seemingly simple in construction, these carriers embody sophisticated indigenous knowledge concerning childcare, ergonomics, and textile craftsmanship. Among the Hua-Shi Miao of the Guiyang region, young women traditionally begin constructing a bei shan by embroidering the central panel. Symbolic characters are carefully positioned on the textile: fu (福, good fortune) occupies the center, while additional auspicious characters conveying blessings and celestial protection are embroidered on either side. The act of making the carrier is governed by numerous ritual prescriptions. For example, sewing ceases immediately if frogs are heard croaking during the rice-planting season. According to local belief, continuing to sew under such circumstances may result in a child who is restless, irritable, or unwilling to remain in the carrier. Upon completion, leftover threads and needles are often concealed within the central panel, where they serve as protective amulets believed to guard the infant against misfortune and malevolent forces during early childhood. Protective practices are also observed among the Miao communities of Longli County, where mothers traditionally attach a small pair of scissors behind the child's back. This object serves an apotropaic function, symbolically warding off harmful spirits and supernatural dangers. Such practices illustrate the close integration of childcare with indigenous cosmologies and systems of spiritual protection. The bei shan further acquires significance through its association with the life cycle. Should an infant die, the carrier is traditionally destroyed and cannot be reused for another child, reflecting beliefs concerning the spiritual connection between the textile and its original wearer. Conversely, when children reach adulthood, Miao-Thung women of the Liping region carefully preserve the bei shan used during their upbringing. The carrier functions as an enduring mnemonic object, embodying memories of maternal sacrifice, care, and devotion. In cases where adult children neglect their responsibilities toward aging parents, mothers may display the preserved bei shan as a powerful moral reminder of the hardships and commitment involved in raising a family. The object thus serves not only as material culture but also as a vehicle for ethical instruction and the reinforcement of filial obligations. Decorative motifs found on bei shan textiles reveal complex layers of cultural symbolism and collective memory. A spiral motif, one of the most widespread designs, demonstrates how a single visual form may acquire multiple meanings across different ethnic groups. Among the Miao, the spiral is associated with the ritual figure Gu Zhang, represented metaphorically as a cow's intestines and linked to ancestral narratives of assistance and protection. Other interpretations connect the motif to historical migration traditions, commemorating the turbulent rivers crossed by Miao ancestors as they journeyed westward. In contrast, among the Shui people, the spiral recalls the legend of the Snail Princess and symbolizes the coiled form of a snail shell, thereby linking the motif to local mythology and cultural origins. Among the Dong, the spiral is frequently interpreted as a solar emblem, representing the sun and its radiating life-giving energy. Likewise, Miao communities in the Huangping region associate spiral motifs with solar worship and cosmological beliefs. Batik-decorated bei shan textiles often combine spiral motifs symbolizing the sun with red drum imagery representing ancestral spirits and communal heritage. Such visual compositions demonstrate how textile arts function as symbolic systems through which cosmological concepts, historical memory, and ancestral veneration are materialized and transmitted. Viewed through an ethnographic and anthropological lens, the bei shan is far more than a baby carrier. It is a culturally encoded artifact that embodies indigenous knowledge, maternal care, ritual protection, ethnic identity, and collective memory. As a form of material culture, it provides a valuable avenue for understanding how the minority peoples of Guizhou negotiate the relationships between family, ancestry, spirituality, and social reproduction through the medium of textile art.
Author: I.C. van Hout, 2011. Second edition. 175 pg. (English)
Publisher: KIT Publishers, Tropenmuseum, Amsterdam
Research clearly shows that carrying human infants significantly enhances their intelligence and fosters essential qualities such as trust, affection, intimacy, love, and happiness. Notably, the countries with the lowest levels of violence are those where babies are routinely carried by their caregivers. This book examines global practices for carrying infants and provides a comprehensive historical overview of baby carriers from ancient times to the present. Additionally, it addresses crying behavior and emphasizes the importance of colors, shapes, designs, and materials used by different communities for their baby carriers.
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