You are on page 1of 55

B AT I K I N D O N E S I A

This book was made possible by the support of The Indonesian Batik Foundation.
Information provided within the book is part of the authors’ responsibility.
©2019

Published by Design by
The Indonesian Batik Foundation MALT
Studio
Concept by hello@maltstudio.com
The Indonesian Batik Foundation
Designers
Project Coordinators Jesselyn Nathania
Diana Santosa Tafarrel Hakim Tohir
Komarudin Kudiya Hana Fairuzia Nadira
Aditya Putra
Rahadian Indra Mukti Design Technologist

Ryana Kharismawati Argi Tendo

Authors
e.a. natanegara
Dira Djaya

Copyright by
The Indonesian Batik Foundation, 2019
Jl. Talang No.3 , Proklamasi, Jakarta Pusat
Phone: (+62 21) 390-4367, 525-3790, 525-5509 ext. 2793
Fax: (+62 21) 52-53790
YayasanBatikIndonesia.id
info@yayasanbatikindonesia.id

The publisher has tried to reach all copyrights holders and endeavors to respect the
rights of third parties. If such rights have been overlooked in an individual case due to
reasons beyond the publisher’s control and some of the photos sources have not been
listed, the publisher apologizes and the mistake will be corrected in the future editions.

No part of this publication may be reproduced or transmitted in any form or by


any means, electronic or mechanical, including photocopy, recording or any other
information storage and retrieval system, without prior permission from the publishers.

Printed on Printer
Cover: Coronado Stipple White 216gsm PT. Harapan Prima Printing
Content: Garda Pat Kiara 115gsm
Cover
Tambal Kanoman
(rectangular cloth, hand-drawn, Yogyakarta)
Special Edition Collection of Danar Hadi Batik Museum
The Indonesian Batik Foundation
Jakarta, September 2019
All rights reserved
B AT I K
INDONESIA

PRESENTED BY
TABLE OF
CONTENTS

Table of Contents Chapter V


p. 03 Batik Patterns Throughout Indonesia
p. 39

Chapter I Proper Batik Care:


The Evolution of Batik How to Wash and Store
p. 07 p. 47

Chapter II The Indonesian


Authentic Batik Batik Foundation
p. 19 p. 49

Chapter III Appendix


Batik Technique p. 51
p. 23

Chapter IV
A National Identity
p. 35

4
5
Assalamualaikum Warahmatulahi Wabarakatuh,
Salam sejahtera untuk kita semua.

Kebanggaan masih terasa ketika sepuluh tahun lalu ketika UNESCO menetapkan batik sebagai
Intangible Cultural Heritage of Humanity dari Indonesia. Sudah menjadi kewajiban bagi kita
semua untuk mengemban amanah tersebut sebaik-baiknya dengan cara terus menjaga
keluhuran budaya dan mengembangkan kreativitas seni batik nusantara.

Alhamdulillah, kita telah membuktikannya dengan pertumbuhan perajin batik yang amat
pesat dan kini berkembang hampir di seluruh wilayah tanah air. Batik pun semakin masif
dipergunakan oleh rakyat Indonesia, bahkan tampil dalam berbagai panggung busana kelas
dunia. Batik telah mampu menjadi identitas nasional yang lintas daerah dan lintas etnis;
menjadi simbol pemersatu dalam kreativitas seni yang beragam.

Dalam rangka memperingati Hari Batik Nasional 2019, saya sangat menghargai upaya Yayasan
Batik Indonesia dalam mengungkapkan rasa kebangsaan dan kebanggaan terhadap warisan
budaya Indonesia ini, antara lain melalui persembahan buku ‘Batik Indonesia’. Buku ini sangat
enak dibaca, dibuat sederhana dalam dua bahasa, ringkas, mudah dimengerti, dan informatif
yang akan menarik untuk generasi muda Indonesia baik di dalam, maupun di luar negeri.

Perjalanan batik di Indonesia merupakan sebuah perjalanan panjang yang telah membuktikan
dedikasi para pembatik, seniman, dan juga industriawannya. Sudah sepantasnya semangat
melestarikan dan menghargai batik terus dihidupkan dengan berbagai cara yang edukatif.
Saya berharap buku ini dapat menjadi inspirasi bagi generasi muda Indonesia untuk terus
mencintai, memiliki, dan mengenakan batik-batik Indonesia dengan berbagai kualitas
yang disandangnya.

Untuk itu saya menyampaikan terima kasih, rasa bangga, dan penghargaan kepada semua
pihak yang senantiasa mendukung perkembangan dan pelestarian batik, juga kepada seluruh
perajin batik, pencinta dan pemerhati batik Indonesia yang tergabung dalam Yayasan Batik
Indonesia (YBI). Semoga batik Indonesia akan tetap memiliki citra positif di mata dunia,
berjaya, dan lestari sepanjang masa.

Wassalamualaikum Warahmatullahi Wabarakatuh.

Jakarta, 30 September 2019


Presiden Republik Indonesia

JOKO WIDODO
Chapter I

The evolution
of batik
The art of batik-making was born in the Javanese
palace grounds, a meditative craft done by the
women of the court. Batik artisans would fast and
pray for days before starting their batik practice.
It was thought that a stable mind and a stable hand
are what is required for the slow, elaborate process of
batiking. Batik embodies the royal tradition, our love
of aesthetics, and need for balance and spirituality.
Carrying us through every ceremony, from birth to
death, batik is an art form that encapsulates every
part of our lives.

Over time, batik-making has expanded to become a


commercial enterprise. The word “batick” itself had
been discovered in the Batavia shipping records
dating as far back as 1641. The beauty of batik
has reached further than the boundaries of our
archipelago, capturing the hearts and minds of
Europeans. Though many had tried to imitate our art,
Indonesian batik remained to be the premier batik
recognized all over the world.

The technique of resist-dyeing cloth is not unique to


Indonesia. It has been found in numerous countries,
in Egypt, China, Japan, India, West Africa, Central Asia,
even in other regions within West Java (simbut cloth)
and Toraja (ma’a cloth). However, the dyeing technique
that produces batik cloth as we know it today, namely
the technique of dyeing by using a canting or wax
printing block with hot wax, is a technique that was
perfected and refined in Java.

As our nation continues to modernize, it is important


that we maintain the true essence of batik. Batik
transcends the figmented boundaries of “tradition”
and “modernity”; it is an ever-lasting art form.
Within each stroke, within each motif, within each
isen-isen, lies centuries-old stories of our nation’s past.
Batik: the fabric uniting Indonesia from past to present.

8
Chapter I

Timeline:
History of Batik in Indonesia

1. Pre-Islam
Popular batik patterns, such as lereng, ceplok,
sidomukti and kawung, have been found on
statues in famous Hindu temples, like the
Prambanan, Singosari and Banon temples. They
have also been found in locations throughout
Indonesia that are heavily influenced by Hindu
traditions such as the Dieng area.

2. Batik Kraton 3. Forbidden Patterns


The kraton, the Javanese As batik became available
royal court, gave birth to the outside of the palace grounds,
rich batik tradition that we the kraton began to forbid
have come to know and love certain patterns from being
today. Batik is a delicate used by non-royal individuals,
arrangement of motifs so as to differentiate between
and color, synthesizing art, the royal family and the laity.
culture, and philosophy of These patterns are called the
the kraton. forbidden patterns, which
include motifs such as the
parang and kawung.
The Evolution of Batik

4. Mid-19th century:
The Development
of Stamped Batik
With the increasing widespread
demand for batik, a new technique
of making batik emerged, called batik
cap or stamped batik. Stamped batik
utilizes a stamping process and is 6. End of the 19th Century:
much faster than the original hand-
Education Spreads
drawn batik process, thus reducing
the cost of making batik. Throughout Indonesia
The implementation of the Dutch
Ethical Policy allowed Indonesians
to enter Dutch schools, leading to
the adoption of European manners
and dress by locals. This change was
most pronounced for men, for whom
Western-style clothing signalled
“progress” and “modernity.”

5. Colonial Era
During the colonial era, the VoC
(Dutch East India Company) issued
a regulation requiring that all natives
wear their traditional regional dress.
For example, the Javanese would
wear batik as jarit. Western-stye
clothing was restricted to only
Europeans and Christians.

10
Chapter I

9. Batik Uniform
In the late 70s and 80s, many government
offices required that all civil servants wear
batik to work, thus creating a market for
the mass-production of printed batik.
These days, the word “batik” has become
diluted. People have begun to forget that
batik refers to a specific technique using
hot wax, rather than just the motifs itself.
Printed textiles with batik motifs is not
authentic batik, for it does not use hot
wax.

7. The 1950s
In the 1950s, Sukarno created
“Batik Indonesia,” marrying the motifs of
court batik and the coloring process of
Javanese coastal batik. This concept
became popular among the finest batik
artisans of the time, including Ibu Soed,
with her famous “Terang Bulan” batik
collection, Ibu Sakrie, Ibu Setyowati,
and KRT Hardjonagoro (Go Tik Swan).

8. Ready-to-Wear
In the past, batik was strictly preserved in its
original form, as a rectangular cloth that was then
tied around the body. When Ali Sadikin entered
office as the governor of Jakarta, he established
batik as the official dress for all men in Jakarta.
Artisans started cutting batik into Western-styled
shirts and trousers. Batik became more than just
textile, it was used to style modern outfits and
home decor.
The Evolution of Batik

10. UNESCO Declares Batik as an


“Intangible Cultural Heritage
of Humanity”
In 2009, UNESCO added Indonesian batik to its list of
“Intangible Cultural Heritage of Humanity,” recognizing the value of
batik in our daily lives. Batik is a dye-resisting technique made with
either a canting or stamp and hot wax. From birth to death, batik is
inextricably tied to every part of our lives: it held us when we were
babies, at coming of age ceremonies, weddings, and funerals. Batik
is more than just a piece of cloth, embedded within it is a mixture
of artistic craftsmanship, cultural values, our connection to the
environment and ancient philosophies.

National Batik Day was officially established on October 2nd, 2009


by then-President Susilo Bambang Yudhoyono to commemorate
UNESCO (the United Nations Educational, Scientific, and Cultural
Organization) officially inscribing Indonesian batik on the
Representative List of the Intangible Cultural Heritage of Humanity.
To celebrate this global achievement, he asked all Indonesians
to wear their most prized batik out to their workplaces and
daily activities.

12
Chapter I

Exquisite Batik

13
The Evolution of Batik

14
Bab I
Chapter I

15
The Evolution of Batik

16
Chapter I
Batik in Indonesia

18
Chapter II

AUTHENTIC
BATIK
What is Batik?
When one hears the word batik, the first thing one
should imagine is the process of making batik, not just
the motifs. The official definition of batik according to the
Indonesian National Standard is that it is “a resist-dyeing
coloring technique using canting tulis (wax-writing stylus
with copper basin, bamboo/wood handle) or canting cap
(wax printing block) and hot wax.” Resist-dyeing is a type
of technique used to color fabric. When batiking, hot wax
is used to cover the parts of the fabric not meant to be
dyed, while the non-waxed parts absorb the dye. The wax
and dye process is repeated many times, until the desired
outcome is achieved. At each stage of the process,
all of the wax is removed and the motifs are refilled and
outlined to highlight its details. Overall, batik-making
is a very elaborate and intricate process.

“A resist-dyeing coloring
technique using canting
tulis or canting cap
and hot wax.

20
Chapter II

A Close Up Look:
How to Differentiate Between
‘True’ Batik and Printed Batik
Hand-drawn Batik
Hand-drawn batik (batik tulis) is created by inscribing hot wax onto fabric using a
canting, a wax-writing stylus with copper basin, bamboo/wood handle. In the past,
batik was drawn on both sides of the fabric. Now, most batik artisans prefer to
design only the front to reduce time and cost.

Characteristics:
The beauty of batik tulis is in
the slight imperfections: the
strong aroma of hot batik
wax, the size and shape of the
motifs are not precisely even,
color seeps through due to the
thinness of the streaks, and
the rough, yet elegant lines
outlining the klowong.

Stamped Batik
Stamped batik (batik cap) uses wax printing block called a cap to repeatedly
stamp designs onto fabric.

Characteristics:
The patterns found in
stamped batik are completely
monotonous; each stamp is the
same, creating evenly produced
patterns. It also uses hot batik
wax, the size and shape of the
motifs are always the same, the
main decorative patterns recur
uniformly, and there is a visible
shift in each repetition.

21
Authentic Batik

Combination Batik
Sometimes batik artisans use both a stamp and canting to enhance the design
process — the result is called combination of hand-drawn and stamped batik.

Characteristics:
Combination batik has the
characteristics of both hand-
drawn and stamped batik.
Usually, the main designs are
done with stamp, and the
details done by hand.

Textile with Batik Motifs / Printed Batik:


Printed batik is not considered authentic batik, because it does not use hot wax.
The process only entails screen printing batik motifs, usually done in a factory
setting, onto fabric.

22
Chapter III

Batik
Technique
Tools for
Batik Making
1a. small skillet

1b. small stove

2. canting tulis
(wax writing stylus with copper basin, bamboo/wood handle)

3. canting cap
(wax printing block designed for batik stamping)

4. batik wax

5. cotton/calico cloth

24
Chapter III

The Process of Making


Hand-drawn Batik

Other than canting, hot wax, and small stove, a batik artisan also needs
a low bench (dingklik) and a gawangan (a wooden goal-post construction)
to hang the cloth she is working on.

25
Batik Technique

Canting tulis consists of three parts: a bamboo/wooden handle (gagang), a copper basin to hold
the hot wax (nyamplung) and a spouted end (cucuk).

This is the klowongan step, during which hot wax is drawn on following a design outline.

26
Chapter III

This is the process of making traditional hand-drawn Sidomulyo pattern batik


with brown and blue dyes.

1. 2.
Prepare the cloth for batik by washing, Mbathik/klowongan: with a canting,
starching and kemplong, a process of draw wax onto the cloth creating the
beating the fabric repeatedly to soften it. design outline.

3. 4.
Nembok: be sure to cover the parts of Medel: After the nembok stage,
the design meant to be left white with dip the fabric into blue dye.
hot wax.

27
Batik Technique

5. 6.
Whittling: scrape the wax off the fabric Mbironi: cover the parts that is already
in the areas intended to be brown. blue, as well as the pattern details with
hot wax.

7. 8.
Nyoga: dip the fabric in brown dye. Nglorod: steep the cloth in boiling
water to remove the rest of the wax
from the cloth.

28
Chapter III

The Process of Making


Stamped Batik
The process of making stamped batik is slightly different than
making hand-drawn batik. If one would like to make stamped batik
with numerous colors, then all of the wax-and-dye steps must be
done repeatedly:

1. 2.
To prep the table, first, lay a primary After the wax melts into
cloth on the table that will create a liquid form, dip the stamp
barrier between the table and batik fabric. about 1-2 cm deep into the
Meanwhile, heat the wax in the stove until hot wax.
it melts and reaches a temperature of
around 70 degrees Celsius.

3. 4.
Firmly press the stamp onto the cloth After the stamping process
until the hot wax seeps through to the has been completed, the fabric
back of the fabric. is ready to be dyed.

5.
Once the cloth has been dried from
the coloring process, boil the fabric,
a process called nglorod, to remove
the wax.

29
Batik Technique

It is true that that modern


batik-making has become more
efficient. However, the craft still
takes a high degree of precision
and accuracy to follow the
intricate designs.

The pan and stove used


for stamping may look
old-fashioned, but this hardy
tool has been used for almost
two centuries to keep the
temperature of the wax
melted— not too hot and
not too cold, just around
70 degrees Celsius.

Today’s wax printing block is


made of thin sheets of copper
plates that is bent and folded
following a design template.

30
Chapter III

This is the synthetic process of producing the color soga (dark brown).

31
Batik Technique

Rinsing the cloth after nglorod step, in which the wax is removed from the fabric.

Exposure to direct sunlight should be avoided when drying batik.

32
Chapter III

Vegan and
Synthetic Coloring
There are two ways to color batik: vegan and synthetic dyes.
In the past, traditional batik dyeing process was simple and
only used one color combination: red-white (bang-bangan) or
blue-white (kelengan). These days, there are a number of vegan
and synthetic dyes to choose from.

The process of preparing vegan dyes is not very complicated,


but it does require hard work, patience, and lots of direct
exposure to sunlight. When fermented, various types of plants,
animals, natural minerals, rocks and soil can be used to create
natural batik dye including: blue (tom/indigo), red (roots
of Morinda citrifolia tree, mahogany wood chips, Biancaea
sappan wood chips), yellow (Terminalia belerica fruit, jackfruit,
Mangifera odorata leaves), and chocolate (wood barks and
chips of Ceriops candolleana arn tree). Fixing agents such as
alum, iron II sulfate (FeSO4), lime, and others are then added
to activate the dye. This process can take weeks to reach the
desired color and requires sunlight for drying during each
dyeing process.

The value of synthetic dyes is that it ensures color longevity,


a shorter processing time, and an easier mixing of colors for
producing more vibrant shades. The three commonly used
synthetic dyes are ‘naphtol’ (for high saturation colors),
‘indigosol’ (for pastel colors or soft shades), and ‘reactive’
(for neon colors).

33
Batik Technique

Synthetic dyes produce a wide variety of highly saturated colors.

Vegan dyes tend to produce softer colors. This green color was created by mixing Terminalia belerica
fruit (yellow).

34
Chapter IV

A National
Identity
Who can deny that batik has become an international
symbol of Indonesian traditional heritage? It is no
exaggeration to say that batik has become an important
art form, respected in all corners of the world.
The popularization of batik is a result of the hard work
of key figures who paved the way to make batik what
it is today.

When Ali Sadikin first introduced the idea of cutting


batik into ready-to-wear pieces in the 1970s, he
revolutionized the way Indonesians saw batik.
Due to his breakthrough, batik is now regarded as the
modern national wear, worn throughout the archipelago.
All Indonesians can unite in wearing batik. The recent
surge of emerging batik artists and organizations has
helped to promotebatik, instilling batik in the hearts and
minds of all Indonesians — and even the world.

Yayasan Batik Indonesia, or the Indonesian Batik


Foundation, was created as the first national
organization of its kind which aims to preserve and
promote the artisanship and cultural legacy of batik.
They do so by creating partnerships, hosting cultural
events and providing batik workshops. The YBI
aspires to support the production of local batik
throughout Indonesia.

Batik-making is a constant interplay between


re-exploring ancient traditions and adapting to modern
innovations in art and fashion. For Indonesians, batik is
an arts movement that honors our ancient traditions,
encompasses the diverse cultures found throughout
the archipelago, and embodies our deep appreciation
for high aesthetics. Ever so seamlessly, batik has been
woven into the fabric of our national identity.

36
Make this map come alive!
To activate augmented reality,
follow the instructions at the end of the book.
Chapter V

Batik PATTERNS
throughout
Indonesia
Minangkabau

1. Batik Tanah Liek


“Tanah liek” refers to clay, because
originally, clay was used to dye this type
of batik. This Chinese-influenced batik was
revived in the mid-1990s.

jambi

2. Bungo Kaco Piring


The first record of batik in Jambi dates
back to the beginning of the 20th century.
There was a surge in batik popularity in the
1980s due to the availability of technical
training meant to re-explore Jambi cultural
roots in batik.

bengkulu

3. Batik Besurek
This type of batik was introduced by Arabs
and Indians in the 17th century to the
people of Bengkulu. The decoration is in
the form of Arabic calligraphy; in Bengkulu,
besurek means “letter” or “writing.”

palembang

4. Batik Laseman
Lasem batik is one of the most popular
types of batik found in Palembang.
This type of batik is heavily influenced by
Chinese culture and colored in shades
of red, blue, and white.

40
Chapter V

lampung

5. Kapal Naga
The Kapal Naga (dragon boat) is one
of the most popular ornaments often
found in tapis Lampung. This pattern was
created as an attempt to enhance the
local batik culture.

garut

6. Merak Ngibing
Merak Ngibing is a decorative scene that
shows a grooming peacock. This is not
the only ornamental pattern unique to
Garut. The pattern can also be found
in Madura or Indramayu.

Indramayu

7. Kain Sisihan
The original indramayu batik was
colored blue or dark red against a white
background. However, in the late 1800s,
a dark brown color was added along with
flower decorations and cotton leaves.

CIREBON

8. Mega Mendung
This is an ornamental pattern of Chinese
influence: clouds in shades of blue with a
red background. The clouds are drawn on
directly using a brush, and the background
is colored with a vat dye.

41
Batik Patterns Throughout Indonesia

CIREBON

9. Paksi Naga Liman


The Paksi Naga Liman pattern can be
seen as a symbol of intercultural harmony:
Perso-Indian, Hindu, Chinese and local
Cirebon cultures.

Cirebon

10. Taman Arum


One of Cirebon’s most unique decorations,
this pattern depicts the palace gardens in
shades of blackish-brown-beige. Within the
garden scene, one can usually find elegant
stacks of coral (wadas).

Banyumas

11. Ayam Puger


This is a common Banyumas motif that
is heavily influenced by the surrounding
Yogyakarta and Surakarta palaces.

42
Chapter V

PEKALONGAN

12. Batik Belanda


(1840-1940)

Batik Belanda (Dutch batik) is a Dutch


and Indo-European development that
originated from the north coast of Java.
This type of batik primarily depicts
bouquets of flowers in bright colors.

pekalongan

13. Jlamprang
(1890-1970)

Jlamprang batik was inspired by


the patola cloth of India. This batik can
mostly be found in the Arab communities
of Pekalongan.

Solo

14. Semen Rante


Semen is one of the oldest batik patterns.
The primary type of semen motif is meru,
from Mount Mahameru, which is thought to
be the home of the gods.

43
Batik Patterns Throughout Indonesia

SOLO

15. Parang Curiga


This popular design is in the shape of a
dagger (curiga). The dagger pattern is
one of the original batik patterns that has
existed since the time of the Mataram
Kartasura Palace in Solo.

Solo

16. Buket Pakis


In the late 1800s, the famed batik
artisan Puri Mangkunegara had a batik
workshop that was managed by Mrs. van
Gentsch Gottlieb. This pattern was one
of the patterns that came as a result of
the batik center.

Yogyakarta

17. Lung Gurdha


Sawat (tail and wing) and lar (main wing)
represent the Garuda, an animal from
ancient Hindu mythology. this type of
decor was exclusively used for the king
and the royal family.

Yogyakarta

18. Peksi Piningit


For this design, the kawung pattern
acts as the background, and the main
decorative motifs are the peksi piningit
(bird) and eight star pattern, which
symbolize the Yogyakarta Court.

44
Chapter V

Yogyakarta

19. Parang Rusak


Seling Nitik
For this type of batik, the parang
(dagger) pattern is combined with
nitik, produced by using a square-edged
canting, thus creating an effect that
looks like tenun (weaving).

TULUNGAGUNG

20. Buket Ceprik


Pacit Ungker
Although the batik tradition in Tulungagung
is still relatively young, batik from this area
has its own distinct characteristics.

TUBAN

21. Lokcan
Lokcan was the term for ‘silk scarf’ in the
north coast of Java during early 20th century.
Common patterns are: cotton flowers, vines
and phoenix which are usually in toast-like
brown. Displayed is the Tuban lokcan on
hand woven cloth, in indigo.

Madura

22. Barna’an
Madurese batik usually has very
dense patterns, seen here is a pattern
which resembles a stacked surau roof
(a small mosque) that is bordered by
geometric shapes.

45
Batik Patterns Throughout Indonesia

MADURA

23. Tase’ Malajeh


A distinct style found in Tanjung Bumi,
‘tase’ means the sea. Accordingly, light
blue is the primary color used, usually
applied with the gentongan coloring
technique (vat dye).

TORAJA

24. Batik Toraja


Historically, Toraja had a fabric resist dyeing
technique that used rice paste (ma’a cloth)
instead of hot wax. Toraja culture is rich
with ornamental patterns that later is
translated into batik patterns.

PAPUA

25. Batik Papua


Batik is one of the techniques used to
preserve the cultural philosophies of Papua.
Stamped batik has become increasingly
popular in Papua in promoting local motifs.

46
Proper
Batik Care:
How to Wash
and Store

47
To wash batik cloth that uses
organic dye, it is pertinent
that you use soapnuts soap.

Use soapnuts soap to hand wash batik cloth.

Dry clothes in the shade; do not expose to sunlight.

To wash batik cloth that is


colored by a synthetic process:

Use detergent that does not contain bleach,


fragrance, or other additional substances.

Wash repeatedly until the water turns clear.

Dry clothes in the shade to dry; do not expose to sunlight.

How to Store Batik


Fold or hang batik fabrics.

Mothballs tend to affect the coloring of batik. Instead,


use natural ingredients like dried vetiver or a mixture
of sandalwood powder and white pepper to keep your
fabrics fresh.

48
The Indonesian Batik Foundation (YBI) was
established on October 28, 1994 by Mrs. Jultin
Ginandjar Kartasasmita, Mr. Ir. Firdaus Ali and
Mr. DR. Dipo Alam MEM. YBI with a social, cultural
and economic mission to preserve, protect, develop
and socialize national batik as a cultural heritage
and commercial enterprise of the Indonesian people.
Moreover, YBI promotes all community-based batik
businesses, wishing to improve the livelihoods of
traditional batik artisans and entrepreneurs
throughout Indonesia.

49
Acknowledgments

The Indonesian Batik Foundation would like to thank God


Almighty for guiding us through the production of this book.

To the President of the Republic of Indonesia, Mr. Joko Widodo,


and the First Lady of Indonesia, Mrs. Iriana Joko Widodo,
we would like to give our heartfelt gratitude for the support
in preserving, protecting, and developing batik as an essential
part of Indonesia’s cultural heritage.

In addition, we also would like to express gratitude to all of our


contributors, partners, and friends who have provided their
time and help to this book:
1. Batik Museum Danar Hadi
2. Batik Komar
3. Galeri Batik Jawa
4. Parang Kencana
5. Batik Purnomo

Ultimately, this book is presented by the Indonesian Batik


Foundation to the youth of Indonesia. With the deepest
sincerity of the governing, executive, and supervisory board
of YBI, we share this knowledge with you.

Jultin G. Kartasasmita
(The Indonesian Batik Foundation - Chairperson)

50
Appendix

Bibliography
Achjadi, Judi (ed.): Batik: Spirit of Indonesia. Jakarta. Yayasan Batik Indonesia. 1999.
Achjadi, Judi: The Glory of Batik. Jakarta. BAB Publishing. 2010.
Achjadi, Judi & Natanegara, E. A.: Tenun Gedhog: the Hand-loomed Fabrics of Tuban, East Java.
Jakarta. Media Indonesia Publishing. 2010
Achjadi, J., Kartasasmita, J. & Natanegara, E. A.: Dunia Batik Seorang Jultin. Jakarta.
Red and White Publishing. 2012.
Doellah, H. Santosa: Batik: Pengaruh Zaman dan Lingkungan. Solo. Danar Hadi. 2002.
Doellah, H. Santosa & Natanegara, E.A.: Perjalanan 50 Tahun Batik Danar Hadi. Solo.
Danar Hadi. 2017.
Hitchcock, M. & Nuryanti, W. (ed): Building on Batik: the Globalization of a Craft Community,
University of North London Voices in Development Management. London.
University of London. 2000.
Nordholt, Henk Schulte (ed.): Outward Appearances: Dressing State and Society in Indonesia.
Jakarta. KITLV Press. 1998.

Photo Credits
Courtesy of Danar Hadi. pp. 13, 14, 15, 16, 25, 26, 34 (above)
Photography by Timur Angin, Courtesy of Danar Hadi. pp. 5, 24, 30, 31, 32
Photography by Priyanto Parto, Courtesy of Danar Hadi. pp. 27, 28
Photography by Chris Bunjamin. pp. 17, 18
Photography by Rinal Wiratama. pp. 21, 22, 34 (below), 40, 41 (no. 5 & 8), 42 (no. 11),
43 (no. 13), 45 (no. 20), 46 (no. 23)

Cloth Credits
Courtesy of Museum Batik Danar Hadi. Cover,
pp. 43 (no. 12 & 14), 44 (no. 15 s/d 18), 45 (no. 19 & 22)
Courtesy of Ibu Tumbu A. Ramelan. pp. 40 (no. 3 & 4), 41 (no. 8), 42 (no. 11), 43 (no. 13)
Courtesy of Ibu Jultin G. Kartasasmita. pp. 41 (no. 6 & 7), 42 (no. 9 & 10)
Courtesy of Bapak Komarudin Kudiya. pp. 45 (no. 21), 46 (no. 24 & 25)
Courtesy of Ibu Damayanti Hakim Tohir. p. 40 (no. 1 & 2)
Courtesy of Ibu Rina Doddy. p. 46 (no. 23)
Courtesy of Yayasan Batik Indonesia. p. 41 (no. 5)
Courtesy of Yayasan Batik Losari. p. 34 (below)

Product Display Credits


Courtesy of Galeri Batik Jawa. pp. 17 & 18

51
How to activate the
augmented reality map (pp. 37-38)
1. This activity is only accessible through the
Facebook camera feature that is available on
the Facebook app on your smartphone.

2. Open the camera app on your smartphone.

3. Scan the QR code provided and click on


the link that appears.

4. When prompted, give access to the Facebook


camera and choose the “Batik Indonesia” filter.

5. Make sure the image of the Indonesian map


(pp. 37-38) that appears on the phone screen
is parallel to the map of Indonesia in the book.

6. Enjoy the augmented reality experience on


your smartphone.

Scan the QR code below


to access the book in
digital format.

52
Supported by:

53