Friday, October 21, 2011

Thailand - Thai Philatelic Exhibition, Traditional Dances 2011

Date of Issue: 04 August 2011

Design 1: The Hero of Likay Song Khrueang Performance in a dance posture called Sod-Soi-Mala
Design 2: The Heroine of Likay Song Khrueang Performance in a dance posture called Naep-Wai-Nai-Ok
Design 3: The Hero of Likay Luk Bot Performance in a dance posture known as preparing for battle
Design 4: The Heroine of Likay Luk Bot Performance in a dance posture called Cheep-Na-Cheep-Lang

Denomination: Thailand Baht 5.00
Designer: Mr.Thaneth Ponchaiwong (Thailand Post Company Limited)

Printer: Thai British Security Printing Public Company Limited, Thailand
Printing Process: Lithography (Glitter Ink)

Likay is a Thai traditional musical folk drama. The performance on stage mostly speaking, signing, dancing, and acting the postures in harmony with the tune played by Pi Pat Band, the Thai traditional orchestra. According to historical evidence in the reign of King Rama V, a religious chanting was performed in the royal cremation ceremony of Queen Sunanda Kumariratana in 1880 by a group of Moslem sitting in circle with the Rammana drum playing at the center. This performance was called the Djikay song, which later distored to be Yikay and Likay respectively.

Likay Song Khrueang initiated in Siam by Phraya Phetpani, who set up the first Likay theatre or 'Wik' by developing the chanting of Moslem ('Suat Khaek') to be the popular part of the show, known as "Awk Khaek". In this part, a performer in Indian style costume came on stage for chanting and telling the sypnosis of the storyline, and the main story began next. It was increasingly popular throughout the country so that many more Wik of Likay had been set up at that time. Adapted from courtier's costumes, the performer dressed up with colorful blouse, white socks, sparkling accessories, and headdress called "panchuret-yot" before the costumes were changed to be simpler during the World War II since it was difficult to import the materials from abroad. Only round-necked and short-sleeved shirt, loincloth, breechcloth, head cloth or head ring were used instead of elegant attires. The new stories were plotted for the audiences to enjoy the more variety of Likay stories. This new face of Likay was widely known as Likay Luk Bot.

Sunday, October 16, 2011

Indonesia - Traditional Textile of Indonesia 2011 (#3)

MS without Overprint + Perforation
MS with Overprint + Perforation
MS with Overprint + Non Perforation

Technical Details:
Issued on 02 October 2011
Theme: Traditional Textile of Indonesia
Stamp Size: 41.06 x 25.31
Perforation: 12.75 x 13.50
Color: Separation & Invisible Ink
Paper: Tullis Russel
Gum: PVA
Printing Process: Offset
Printer: AMG Security Printing
Designer: De-Er

IDR 2500 - Songket Melayu, Riau
IDR 2500 - Songket Mentok, Bangka Belitung
IDR 2500 - Batik Mega Mendung, West Java
IDR 2500 - Tenun Sora Langi, West Sulawesi
IDR 2500 - Tenun Tolaki, South East Sulawesi
IDR 2500 - Tenun Tanimbar, Maluku
IDR 2500 - Batik Papua, Papua
IDR 2500 - Batik Papua Barat, West Papua

IDR 5000 - Tari Topeng, West Java (SS)

Indonesia is the largest archipelago country in the world with more than 17,500 large and small islands scattered along the 4800KM between Asia and Australia. Therefore, Indonesia has the largest diversity of art and culture compared to any part of this world. Every ethnic groups in Indonesia have its own characteristics in their traditional clothing which, of course, they are equipped with traditional unique cloth and being a wonderful cultural heritage.

Kain Tenun (woven cloth) are made with developed warp ikat technique and it is being a characteristics of population in Nusa Tenggarra, Kalimantan, Sulawesi regions and also in some areas in Sumatera; Kain Songket (Songket Cloth) has been growing in most areas in Sumatera, Kain Batik (Batik Cloth) has been attached to the identity of the Javanese; The sulam and embroidery art techniques are widely used in West Sumatera, that eventually spread to other parts of Indonesia, traditional cloth treasure is still thrive in Indonesia until the present day.

Indonesia traditional cloth has a high cultural value, especially from the point of aesthetics, symbolic meaning and has the philosophy that underlies its construction. The diversity and uniqueness of decorative woven cloth clearly reflected in the elemnets associated with the veneration of ancestors and the natural grandeur. Each region has distinctive features in the ornamental range associated with social-cultural function of the area. Within each family or religious rituals, a piece of woven fabric is almost always a very important part.

The history of Batik in Indonesia began to develop in the Sultanate of Mataram XVIII, then in the Sultanate of Yogyakarta and Surakarta era. Batik initially made in the palace to meet the demand for the king and his family and his followers clothing. As many of the king's courtiers lived outside the palace, the art of Batik was brought by them out of the palace and they produced it in their own places. Then, batik that used to be wear only by the royal family, developed into a popular folk clothes. For the Javanese, a piece of batik is not just a piece of cloth for clothing, but it used in some level of life of the royal family members started from a baby was born until the moment they left this world, also in dance, drama, and fashion arts.

Compared to other traditional types of cloth, batik is the most widely received cultural influence from China especially in ornament pattern. Chinese style decorative patterns such as dragon, phoenix, gold kepeng, butterflies, bats, peony flowers, or a clump of bamboo liked the most. The ornament pattern are used mostly in the batik from the coastal area that are along the northern coast of Java island. Lots of Chinese descent who are involved in this industry and become a famous batik businessman.