ETHNOMATHEMATICS STUDY OF TIE WEAVING MOTIFS OF
NGADHA ETHNIC NGADA REGENCY-EAST NUSA TENGGARA
Lomba Peneliti Belia Nasional 2022
Daniela Michaelis Lengi Redo; Katharina Lado Kedhi
Maria Katharina Longa, S.Pd.,M.Pd
Regina Pacis Bajawa Private High School-Ngada-Nusa Tenggara Timur
Danielaredo0@gmail.com, ladokeryn@gmail.com
Introduction
Research Background
Indonesia is a country with a variety of cultures
that continue to be preserved, such as traditional
ceremonies, traditional clothing, traditional dancing,
traditional houses and special foods. One culture that is
characteristic of each tribe is traditional clothing,
including woven cloth. Tie weaving is a traditional
Indonesian woven fabric that is produced in various
regions of the archipelago (Rohma et al., 2021). Tie
weaving has a history that is high enough to give
uniqueness in terms of motifs, colors and threads used by
each tribe (Herlince et al, 2021). Thus, the existence of
woven cloth becomes a symbol that is unique to each
tribe and region in the archipelago.
Ethnomatematics is interpreted as an approach
that bridges the concepts of mathematics and culture as
well as being an actual learning media because it
provides real learning opportunities without ignoring
cultural values as a form of local wisdom.
Ethnomatematics studies can cover all fields such as
architecture, weaving, sewing, agriculture, kinship,
ornaments, spiritual and religious practices in harmony
with patterns that occur in nature (Wahyuni et al., 2013).
East Nusa Tenggara (NTT) is a province in Indonesia
with 1,175 ethnic groups spread across 23 regions
(Central Bureau of Statistics, 2018). Tie fabrics can be
found in almost all provinces of East Nusa Tenggara
with different motifs, such as skull motifs in East Sumba
and Maumere with rain, trees and twigs motifs, to
various other motifs displaying the diversity of flora,
fauna and legends. Indonesian Tourism, 2021). The
many ethnicities in NTT show diversity in the woven
motifs because they are distinctive from one ethnicity to
another.
Ngada Regency has 3 major ethnicities, namely
Ngadha, Soa and Riung which have a particularity in
their woven motifs. According to Gae (2017) the Ngadha
ethnicity is the original name of the tribe that now
inhabits the Ngada Regency area, because the Dutch
gave the name Ngada because it was difficult to
pronounce the letter (h) between the letters (d) and (a).
However, interest in woven tie resurfaced when its
products were mediated and recognized as having high
aesthetic value, as if woven tie could be valuable if it
was often shown on the big screen as a tourism package.
It is hoped that the change in orientation to high aesthetic
value for woven products will not disrupt the taste of
the craftsmen in producing
beautiful woven fabrics that meet ideological, ethical and
regiosity requirements (Ngali, 2016). On the other hand,
the Regional Government of Ngada Regency through the
Industry Service is fighting for the Ngada woven motif to
obtain a Geographical Indication (GI) certificate and
obtain a patent (Yanto, 2021).
Ethnomathematical research on Indonesian tie
weaving has broadened the space for exploration
regarding the application of ethnomathematics studies
involving cultural concepts. Ethnomathematical research
related to tie in the province of NTT has been carried out
on the Ende-Lio, Sikka, Sumba, and Riung ethnic
weaving. In the Ngada regency, ethnomathematics
research has been carried out on the Riung ethnicity,
while the Soa and Ngadha ethnic groups has not been
carried out. This fact encourages researchers to show
concern as the millennial generation in an effort to
arouse the love of knowledge inherent in the local culture
of the Ngada people, so that researchers are interested in
conducting research with the title: “Ethnomathematical
Study of Tie Weaving Motifs of Ngadha Ethnic Ngada
Regency East Nusa Tenggara”.
Purpose Of The Research
1. To find out the mathematical elements contained
in the Ngadha ethnic woven motifs
2. To find out the fundamental activities that are applied
in the process of making Ngadha ethnic woven
motifs
Research Methodology
Experimental Design
This research was carried out during August
2022. It began with literacy on Ngada tie weaving and
interviews with the Ngada Regency Industry Office. The
researcher then visited weavers in the village of Borani
and several weaving groups in the Bajawa sub-district
(Village of Langa, Bomari, Borani and Indigo groups)
and weaving groups in the traditional village of Bena,
Jerebu’u sub-district.
Research in Variabel
The variables in this research are the study of
mathematical elements and the Ngadha ethnic tie motifs.
Relevant Data Analysis and Research Methods
This research was conducted using a qualitative
descriptive method through interview, observation and
documentation techniques.
Relevant research that focuses on ethnomamatic
studies on tie weaving in the province of East Nusa
Tenggara, among others by: Rahayu et al (2020) as a sacred
regarding ethnomathematics on Lipa Kaet woven fabrics weapon used in
from the Riung ethnicity of Ngada Regency which shows certain ritual
a relationship between Lipa Kaet weaving and the ceremonies in
concept of flat shapes such as rectangles, rhombuses,
Sa’o.
triangles and hexagons are also found in the Lipa Kaet
woven fabric motif. Herlince (2021) concludes that Which is used
several geometric shapes found in the Sikka tie fabric specificallty for
motifs of Sikka Regency along with the tools for making teenagers (boys)
7 Li’e Besi
Sikka tie fabrics include straight lines, line segments, and interpreted
intersecting lines, parallel lines, squares, rectangles, as seeds (next
rhombuses, triangles, polygons (hexagons), circles, generation).
cylinders, and spheres. The exploration results of Doli et It is amotif used
al (2018) show the geometric principles used in making by women and
the Lawo weaving motifs of the Lio tribe, Ende Regency, 8 Bela has a meaning as
which involves the diagonal axis as the main axis of authority for
symmetry that emerges from the analysis of the X and Y
women.
axis symmetry as well as the repetition of details on the
entire Lio Lawo motif. Still in Ende Regency, Merdja & The traditional
Restianim (2022) further identified ethnomathematical house wall
studies on the Ende Lio tie motif and the results showed (sa’o) that
9 Ube
that there was a mathematical concept in the Ende Lio tie protects the
motif resembling a flat shape, namely triangles, owner of the
rhombuses, squares, rectangles, and rectangles. sa’o.
Result and Analysis Has meaning as
The Meaning of Ngadha Etnic Woven Motifs padhe puru who
No Motifs Meaning has expertise
10 Mata Nitu
Has meaning as based on
Wa’i an upbringing to ancestral
1 heritage.
Manu become a wise
man. Has a meaning
It has meaning as an indication
11 Lelo Wae
2 Jara of authority and of the existence
wisdom of springs (life).
Has a meaning Has meaning as
3 Gaja as a symbol of Bhege prosperity /
12
greatness. Bheo strunggle in the
final stage.
Has meaning of
the greatness of
Ngada people, as The Ngadha ethnic tie motif contains
Lawo a symbol of the mathematical elements
4 1. Wa’i Manu Motif
Butu purity of female
The wa’i manu motif is show in picture 1.
figures, as well
as heirlooms in
Sa’o.
It has meaning
as Lodha wea
(gold chain)
which ia a
treasure for
5 Ghi’u members of the
Sa’o and must Picture 1. Mathematical Elements in the Wa’i Manu
be guarded, as Motif (Source: Personal Data)
well as being a
hereditary The wa’i manu motif in picture 1 is a
legacy. representation of parallel lines as the basis for the
6 Gala It has meaning concept of geometry.
2. Jara Motif
The jara motif is show in picture 2.
The jara motif in picture 2 shows on the flat
geometric shapes, namely a rectangle.
3. Gaja Motif
The gaja motif is show in picture 3.
Picture 3. Mathematical Elements in the Gaja Motif
(Source: Personal Data)
The gaja motif involves collaboration between
2 geometric flat shapes, namely a rectangle and a
triangle, and there are parallel lines which are the
basis of geometry
4. Lawo Butu Motif
The lawo butu motif is show in picture 4.
Picture 4. Mathematical Elements in the Lawo Butu
Motif (Source: Personal Data)
The lawo butu motif as show in figure 4 is one
on the representations of a geometric flat figure,
namely a rhombus.
5. Ghi’u/Gheo Motif
The ghi’u/gheo motif is show in picture 5.
Picture 5. Mathematical Elements in the
Ghi’u/Ghe Motif (Source: Personal Data. (Riddle
and College)
Motif number 5 is representation a basic of
geometry concept namely fractal where the type of
fractal that are similar with numer 5 motif is von koch
curve. Von koch curve is fractal that is formed froom
many of triangles that are combined so that is resemble a
snowflake
6. Gala Motif
The gala motif is show in picture 6.
Figure 6. Mathematical Elements in the Gala
Motif (Source: Personal Data)
The gala motif in figure 6 is representation a flat of
geometrical shape in the form of triangle formed by 3
sides and 3 angles of 180° and has a certain ratio for the
size of the sides and angles so that it is calculated through
sine and cosine.
7. Li’e Besi Motif
The li’e besi motif is show in Picture 7.
Picture 7. Mathematical Elements in the Li’e Besi
Motif (Source: Personal Data)
The li'e besi motif is the easiest motif for woven
craftsmen to make, because the motif image is only based
on the dotted line. This motif is the basis of geometry in
the form of parallel lines that are at one plane point and
have no intersection points, if they are extended then
these lines do not intersect with one another.
8. Bela Motif
The bela motif is show Picture 8.
Picture 8. Mathematical Elements in the Bela Motif
(Source: Personal Data)
The Bela motif in picture 8, is one of the motifs that
directly becomes a geometrical figure in the form of a
triangle formed by 3 sides and 3 angles of 180° and has a
certain ratio for the size of the sides and angles so that it
is calculated through sine and cosine.
9. Ube Motif
The ube motif is show picture 9

Picture 9. Mathematical Elements in the
Ube
Motif (Source: Personal Data)
The Ube motif in picture 9 is representation
a flat of geometrical flat shape namely squre on
the outer frame of the motif,while on the inside
part is presentatiom basic geometri concept that is
line where this motif apply straight line
eguation(y:mx+c) on the inside part so that this
motif can show other geometrical flat shape such
us rhombus and triangle shape.
10. Mata Nitu Motif
The mata nitu motif is show in picture 10.
Picture 10. Mathematical Elements in the Mata
Nitu
Motif (Source: Personal Data)
When viewed sideways, the mata nittu
motif describes the shape of a geometric flat
figure, namely a parallelogram with the basic
characteristic that it does not have an axis of
symmetry, its sides are opposite each other and
are of the same length and the opposite angles
have the same magnitude, where two adjacent
angles add up to 180°. or are perpendicular to
each other, and the diagonal angles are 360°.
11. Lelo Wae Motif
The lelo wae motif is shown in Picture 11.
Picture 11. Mathematical Elements in the Lelo
Wae
Motif (Source: Personal Data)
The Lelo Wae motif in the picture above
shows the basic concept of geometry, namely a line
with a type of intersecting line, where the position of
two lines that have a point of intersection is due to
the fact that the lines meet each other and form
intersecting angles. A3, A2 and A4, B1 and B3, B2
and B3, C1 and C3, C2 and C4, D1 and D3, and D2
and D4. Geometrically these lines intersect because
they have different slopes, thus creating two opposite
angles. In addition to the lines that intersect, this
motif shows other types of lines, namely parallel
lines which have the same slope, so that if we extend
the two lines, the two lines will not intersect, and
there are opposite angles shown in sections A1 and
D1, A2 and D2, A3 and D3 A4 and D4, B1 and C1,
B2 and C2, B3 and C3, and B4 and C4. In addition,
the lelo wae motif has the concept of opposite angles
(inside and outside). The inner opposite angles are
shown in figures A4 and D2, A3 and D1, B4 and C2,
as well as B3 and C1, while the outside is shown by
A1 and D3, A2 and D4, B1 and C3, and B2 and C4.
Not only that, this concept also has a picture of one-
sided angles (inside and outside), one-sided inner
corners are shown in pictures A4 and D1, A3 and D2,
B4 and C1, and B3 and C2, while the outside one-
sided angles are shown in A1 and D4, A2 and D3, B1
and C4, and B2 and C3.
12.Bheghe Beo motif
The Bheghe Beo motif is shown in picture 12.
Picture 12 Mathematical Elements in the Bheghe Beo
Motif (Source: Personal Data)
This motif shows a combination of geometric flat
shapes between triangles and rectangles, thus showing
the relationship between geometrical shapes that form a
variety of motif bonds.
Fundamental Activities in Making Ngadha Ethnic Tie
Weaving Motifs
The fundamental activity that is most often involved in
the process of making tie motifs is counting. Counting
activity is related to how much description of a number, or
counting using fingers and other body parts that can be used
to count (Sekarndary et al, 2022). The results of observations
and interviews conducted by researchers with tie weaving
craftsmen in Bajawa and Jerebu'u sub- districts indicate that
counting activities are applied directly during the process of
making tie motifs. The number of threads that are prepared
to be used as a motif is calculated as mela, where 1 mela is
composed of 4 strands of thread. In the process of making a
tie motif, you must use mela with an odd number count, with
the aim of producing a neater distance between motifs and
avoiding collisions between motifs. The strands (mela) that
are most widely used are in the manufacture of the gaja
motif with the number of 35-37 mela (strands), the bhuja
kawa/gala ga'e and jara motifs of 9-15 mela, the mata
nitu motif of 5-11 mela , the lelo wae motif is 13-17
mela, the bela and ghi'u/gheo motif is 3-5 mela, the li'e
besi motif uses only 1 mela, the lawo butu and ube
motifs whose number of threads (mela) adapted to the
tastes of the craftsman.
Conclusion
The Ngadha ethnic tie motif contains mathematical
elements in the form of geometrical shapes (square,
rectangle, triangle, rhombus, and parallelogram) and
basic geometry (parallel lines and fractals). The making
of the Ngadha ethnic tie motifs involves counting
activities used in sorting the threads, where the strands of
thread (mela) used in the process of making the tie
motifs involve odd numbers with the aim of smoothing
the distance between motifs and avoiding collisions
between motifs.
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Riddle, Larry and Agnes Scott College.
https://larryriddle.agnesscott.org/ifs/kcurve/kcurve.ht
m. 23 Marc 2022. 27 April 2023.

Future Work
1. It is necessary to conduct further research or study on
ethnomathematics in the process of making So’a
ethnictie weaving, so that the study of tie weaving in
Ngada Regency is complete
2. It is necessary to conduct further research or
studies related to ethnomathematical studies in
the whole process of making Ngadha ethnic tie
weaving.

References
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