Mengwi Village Revives Balinese Tedung Umbrella Craft, Sparking Economic Growth
Mengwi Village in the Badung Regency of Bali has carved out a unique niche with a centuries-old craft: the tedung umbrella. These ornate shades play an important role in Hindu yadnya rites and double as decorative items for resorts and homes. Skilled artisans bring each design to life by hand.
Shaped like a protective canopy, tedung umbrellas vary in scale, style and hue. Basic models stand from one to five meters tall, and canopy diameters span from half a meter to three meters. They range from compact designs to grand versions topped with tassels and embroidery. Beyond ceremony, they are known by terms that reflect function, regional origin and color palette, adding layers of meaning to every piece.
Artisans in Mengwi first organized as a cluster in 1985, soon earning a reputation across Bali as a center of excellence for tedung craft. Today, 27 craftsmen and women maintain the tradition full-time, drawing on weaving, embroidery and frame-shaping methods passed from one generation to the next. Their work is more than a product; it carries cultural memory and community pride.
Over time, these artisans introduced new forms, including modified hoods and overhangs designed for hotel lobbies, villa patios and restaurant entrances. Tour operators and interior designers place their orders months in advance. This diversification has opened fresh revenue streams and preserved ancestral know-how.
They sell tedung at local markets, village stalls and temples from north to south Bali. Pilgrims pick them up for offerings; hoteliers display them in guest rooms. Homes and offices adopt these umbrellas as accents, drawn by handcrafted detail and cultural resonance.
Rising demand has turned tedung production into a major source of work in the village. Local residents fill most roles – from frame makers to stitchers – and a handful of workers commute in from neighboring districts. Orders can range from single ceremonial shades to bulk shipments.
A prime example appears in the workshop of Gusti Agung Ayu Gita’s family. She represents the fifth generation to sustain this enterprise, which was founded by her great-great-grandmother. The firm has grown from a cottage setup to a well-organized micro-business with multiple staffers.
In Gita’s shop, craftsmen begin by shaping bamboo or metal ribs into a sturdy frame. Next comes the intricate task of binding threads to secure joints. That stage gives way to a covering process on industrial sewing machines, followed by hand-attached fringe, symbols and custom emblems.
Final steps include mounting a carved pole and fitting the menur, a finial that crowns the top. Each finished tedung moves along a piece-rate production line, where laborers receive pay per completed unit rather than an hourly wage.
Before 2020, monthly turnover hovered between 10 million and 15 million rupiah, with single units priced from 75,000 up to 1.5 million rupiah depending on height and style. During pandemic lockdowns, income plunged by about seventy percent, squeezing household budgets.
“During the approximately 50 years of running this tedung business, a lot of developments and improvements have occurred, starting from the many additions to motifs and modifications to umbrellas as well as the function of the tedung itself which is not only used for ceremonial purposes but also used as decoration in hotels. hotels and villas,” said Mrs. Gusti Agung Ayu Gita.
Demand bounced back as travel restrictions eased. Tourists snapped up colorful models as souvenirs, and cultural centers in Ubud and Kuta began staging themed displays. International buyers now place direct orders for shows and festivals abroad.
Shipments have reached markets in Japan, Suriname and Cambodia, building a reputation for quality and authenticity. Buyers cite the precision of the stitch work and the clarity of color contrast as key selling points.
Local leaders note an unexpected benefit: stronger community ties. Craftsmen gather at regular meetings to discuss patterns and color schemes, sharing designs and troubleshooting production challenges. That sense of solidarity has helped preserve skills across households.
Scholars point out that each tedung craftsman doubles as an unofficial cultural envoy. As visitors study the umbrellas, artisans explain Hindu symbolism woven into each fringe and emblem. This dialogue deepens cross-cultural understanding.
Field surveys and temple records show wide variation in size, height and canopy shape among tedung agung and tedung robrob models. Differences extend to the pendants that dangle from the edges and the internal rib count.
Tedung robrob shows off chains of woven wool or embroidered threads in black, white, yellow, red or green, forming a fringe around the canopy edge. Tedung agung displays draped panels of cloth or metallic prada, known locally as ider-ider.
Ider-ider fabrics hang in two tiers: the upper layer is shorter, exposing a longer lower panel. Each color choice carries symbolic weight in temple rites, signifying direction, deity association and ritual purpose.
Beyond decorative flair, makers must honor a strict code from the Asta-Kosala Kosali, an ancient Hindu text. It outlines acceptable dimensions, color schemes and sacred ornament styles for umbrellas, banners and other ceremonial objects.
Crafting a tedung is more than an art project. It calls for deep respect for ritual guidelines – from the right thread count to the correct hue combinations – in line with teachings on purity and balance.
Supporters argue that establishing a training center would pass skills to younger generations. Classes could cover framework construction, fabric dying and decoration techniques, along with the lore behind each motif.
Officials and industry groups have pledged to back marketing efforts beyond Bali, connecting artisans with mainland retailers and online platforms. That step could boost sales and share Balinese craft traditions even farther.
Gita’s family, along with fellow craftsmen, hopes such moves will provide stable income for more households. Many small workshops still depend on private orders, leaving them vulnerable to market shifts.
The tedung umbrella business in Mengwi represents a living heritage that supports village livelihoods. Each purchase contributes to an economy woven through craft, faith and family ties.
Each quarter, craftsmen gather at a local bazaar in Mengwi to present new designs. That event draws vendors, buyers and cultural journalists from across Bali. Judges award prizes for color innovation, weaving precision and adherence to sacred criteria outlined in ancient texts.
Many small workshops have tapped microcredit from village cooperatives, securing low-interest loans to purchase dyes, prada cloth and sewing machines. That funding has helped artisans upgrade tools and expand workspace without sacrificing the family structure of each operation.
During the annual Bali Arts Festival, several umbrella makers set up live demonstration booths. Visitors can watch craftsmen tying threads and sewing panels. Those displays often lead to commission requests from resort operators planning themed cultural events.
With export documents in hand, traders have sent Balinese tedung to the Netherlands, Germany and Singapore. Regional orders within ASEAN have increased, as cultural tourism promoters seek authentic décor for events in Malaysia and Thailand.
A recent study by a local university found that households involved in umbrella making earn an annual average of fifty million rupiah from this craft, topping income from rice farming and small retail. That boost has helped families build more durable homes and cover school fees for children.
With steady demand and expanded distribution, this local enterprise may continue to sustain traditional knowledge and deliver economic benefit for the community at large.
