Ternate Island, famous for its Umapura Village, depicts the harmony between fishermen's lives and the charming art of weaving. The village is in the middle of the sea, making its resident's main livelihood as fishermen, but mothers and daughters have for generations honed their weaving skills as a very valuable side activity. At every step, the weaving tradition in this village is carried out with full respect for ancestral heritage. Starting from spinning cotton to knitting thread into cloth, everything is done in traditional ways that are full of meaning. Umapura Village has developed into an amazing weaving center, offering more than 37 captivating motifs, enriched with more than 100 natural dyes from land to sea.

The resulting Ikat Weaving works depict more than just visual beauty. The motifs reflect the rich culture and traditions held in high esteem by the Umapura people. From the greatness of God to the celebration of life, every thread is a reflection of the values believed in and passed down from generation to generation. With each motif, the woven fabric becomes living proof of the magic and cultural richness that unites the people of Umapura.

The Kui tribe in Alor preserves the culture of woven cloth, especially in the villages of Lerabaing, Tribur, Pailelang, and Moru. They create woven fabrics with various motifs that attract tourists. Ethnic Kui woven fabric, or Kui sarong, is unique because it can be used as clothing, bags, and other knick-knacks. The motifs of the Kui people's sarong weaving reflect the social structure and gender differences. The Kui people produced two types of cloth: sarongs for women and blankets for men, differentiated by function and motif. Apart from that, the loom symbolizes the complementarity between men and women in carrying out life's tasks.

The motifs of the Kui tribe's sarong weaving reflect high historical, artistic, and philosophical values. The combination of these motifs provides a comprehensive picture of the life and values of the Kui people. They symbolize the balance between strength and beauty, family harmony, and courage and honesty. These motifs also reflect respect for history and ancestors, the importance of maintaining honor and dignity, and the awareness that property is not taken with the dead. Overall, the combination of these motifs tells the story of the cultural identity of the Kui tribe which is rich in philosophy, and social and spiritual values that are embedded in everyday life.

Initially, Batulolong songket weaving was brought by King Karlau Kep from East Timor. King Karlau Kep's journey started from Liku Bekeka/Ermera to Alor on a boat called Lakmakala. This boat is equipped with various equipment, including a wooden cross decorated with the Skar alona bata motif, indicating that the boat belonged to the king. This motif is a sign of the greatness and authority of King Karlau Kep to all his entourage. Other motifs passed down to this day are the creations of ancestors passed down from generation to generation, enriching the cultural heritage of Batulolong songket weaving.

Batulolong songket weaving is now spread across South Alor District and Teluk Mutiara District, Alor Regency. The distinctive characteristic of Batulolong songket compared to Kolana and Kui songket weaving lies in the weaving technique. The process of making motifs is carried out using the top pick and bottom pick technique, as well as careful thread distribution, resulting in a unique motif. These motifs are taken from ancient wisdom and natural products, reflecting deep philosophy and history. Apart from that, another characteristic of Batulolong songket weaving is the larger size or area of the cloth, which is specifically used as blankets for men. These blankets, with their distinctive motifs and dividing bars/getaraya, are used in various traditional ceremonies, including mourning events and welcoming guests. In Batulolong tradition, when a man dies, this blanket must be placed over the body, signifying last respects.

There are 34 recorded Batulolong songket motifs, with 19 of them still surviving today. Some of the famous motifs are the Raja Motif, the Suku Adik Motif, as well as the motifs used by the Bakiau, Ikau, and Playou tribes. Each of these motifs is not only visually beautiful but also full of meaning and philosophy, reflecting the rich cultural and historical heritage of the Batulolong tribe.

North Kolana, a village in East Alor that borders Timor Leste has a rich weaving tradition. People in North Kolana create various types of woven fabric, such as blankets, scarves, and sarongs. Woven sarongs are divided into two types: Gibitir Keti and Gibitir Merek. Gibitir Keti, which means selected border flower, was previously only used by kings or nobles. Meanwhile, the Gibitir Merek, which means yellow border without flowers, is aimed at commanders or ordinary people. However, with permission from the king, now these two types of weaving can be worn by anyone, reflecting the combination of tradition and openness of the North Kolana people.

Every motif in Kolana's weaving tells a story about the lives of its people which are rich in meaning. These motifs provide a comprehensive picture of the balance that exists in their lives. Kolana weaving reflects solid strength, alluring beauty, high honor, and deep pride. Apart from that, the motifs also tell stories of abundance to be grateful for, sincere simplicity, resilience in facing challenges, creative imagination, and skilled skills. Together, these motifs describe the Kolana people's outlook on life, which highly values struggle and hard work, self-confidence, and the courage to face all situations, both in difficult times and when happiness comes.