Batik Papua, indonesian

The uniqueness and beautifulness of various Papua’s traditional motifs has now been transformed into Papua batik motifs. The various Papuan indigenous motifs are now represented into Papuan batik developed by local craftman. One of the batik artisan is Maria Pulanda, a housewife specializing in the   development of traditional Papuan motifs, particularly Sentani’s motifs. To develop traditional batik, Sentani’s motifs  in  particular,  Maria  with  her  fellow artisan established a batik cooperative called KUB Dobonsolo.

Acoording   to   Maria,   batik   industry   in Papua have developed since decade of 1980s. Unfortunately, the development of batik industry in Papua is considered slow. The slow development can be seen from the volume of production and number of artisan dealing with batik industry that are still very limited.

In Jayapura district, for example, based on the data from Ministry of lndustry and Trade of local goverment, there are currently around 10 Papuan batik craftmen. They produce batik by order only, otherwise, there is no production activities. It is due to  many constraints they face, especially the lack of capital, human resource constraints, the limitation of management skills, and also the weak of entrepreneurial abilities.

Actually,   the   monthly   order   to   Papuan batik with Sentani’s motifs is quite significant in number. The orders usually come from local government,  churches,  and  public.  However, the limited production capacity to be the biggest obstacle faced by the batik industry in Papua at this moment. This is true due to the the high turnover rate of craftmen in Papuan batik industry so that the readiness of the craftmen when the order has to be served is questionably. On the other hand, it takes time to traine and produce skillfull craftmen.

From the demand side, the market opportunity for Papuan batik is widely open. Even, the provincial  government  of  Papua  has  obligated the employee to use batik clothes two days a week. Unfortunately, the demand can not be met by local batik industry due to the existing various constraints as mentioned before. Finally, to meet the demand, the order are fulfilled by Java printing clothes with Papuan batik motifs.

MAde in indonesia In addition, the batik industry in Papua depends heavily on the supply of raw materials and other supporting materials from Java such as cloth (mori), canting, wax, dyes and others.

In fact, the use of natural dyes is still very limited. The use of natural dyes is not well developed due to market demand that prefers to use synthetic dyes. It is associated with high market demand in Papua batik cloth with bright and striking colors. These kind of collors can not be served by natural dyes which tends to produce soft collors.

Source :http://www.pojokshare.com

Batik Dayak

sani Rachman is one of the pioneers of batik tulis in East Kalimantan. It was starting in 1982, Sani Rachman or more familiar called Agusin tried to build a small-scaled business in Samarinda with the name, “Batik Tulis Mitaka”. Mitaka is a combination of two of her daughters’ name: Mita and Ika. The mission was to introduce East Kalimantan culture through Dayak unique pattern on Baik tulis.

The transformation of batik art into Kalimantan then realized around 1990s. Mitaka started to be known as a producer of unique batik from Kaltim with various Dayak’s pattern. The first order of Batik Kaltim Mitaka was accepted when they took a part in National Independence’s Day exhibition. At the time, Agustin received the order for the opening of Kaltim fertilizer’s Plant in Bontang.

Like other business, she admitted that this kind of business is also up and down. In developing this business, she relies on funding from the bank. It is Pembangunan Daerah Bank (BPD) which gave funding as an initial development of Batik Mitaka at 5 million rupiah at the start of 1990. In the same period, Mitaka has also received Upakarti  award  from  President  Soeharto  for its  batik  innovation  and  as  a  conservationist of Kaltim’s culture. On the same year, she also recieved appreciation from Iwan Tirta who is known as pioneer of batik culture in Indonesia. Even though this brand has been known overseas, Mitaka still tries to keep its existence and quality. They also introduce the art of batik with Dayak’s pattern to young generation by establishing courses institution and creative craftsmanship lesson on patterning batik from Kaltim. She said, different than any other art of craving, batik has a high level of complexity; especially when it has crashed with the needs of customer, the limitation of the material, and the expertise of batik craftsmen.

Unlike batik printing that is really easy to do and produce in mass. Batik tulis or written Batik should always be carefully thought. Several steps in the process must be done with patience to make the best result. Therefore, the outcome from these batik craftman is priced fairly to the amount of work given.

Being on the middle to up segment, the price of every product produced by Batik Tulis Mitaka is offered with a relatively high price. For a satin, it is marketed starting from 400,000 Rupiah, whereas woven Batik with Dayak’s pattern that uses silk as its material, is offered with the price starting from

1 million rupiah.

At this time, to maintain the quality and existence in producing batik tulis in Kaltim can only be done by certain small industries in Bumi Etam. With no exception, including Mitaka that until now still serves Kaltim unique batik to their lovers. Now, Mitaka business is run by the second daughter of Agustin who also was graduated from an art school in one of the university outside Kaltim.

She admitted, the number of batik craftsman to serve orders is still limited. However, the existence of training institution for batik tulis run by Mitaka is hoped to increase the interest of young generation to work on crafts in the future. Agustin hopes that the development of Kalimantan motives will be fluttered and become a mark of the region.

To commit on batik tulis for Agustin is a fixed price, summing up with her love in fashion and beauty world. Although it is quite hard to get employees with a good skill, this fact is not a reason for Agustin to keep introducing batik tulis of Kaltim, and conserving it to the young generation

Batik Pattern Palangkaraya

The privileged of Batik Benang Bintik which is the noble heritage of the local community is enshrined as one of the pattern, because the pattern shown is a crisp stems or tree of life. According to Sinta, the owner of ‘Griya Benang Bintik,’ she continues her sister’s business in selling traditional cloth as well as tailoring business.

“We are developing various types of traditional motives ranging from Batang Baring motif (Tree of Life), Pasukmelu, Tameng motif, Saluang Murik (Saluang fish), and Jawet. Some of these motives are also found  in wicker that is cultivated by local community. The characterisic of these batik can be seen in its traditional ethnic motives  as  well  as  the  distinguishing  feature of  other  types  of  batik.  In  addition,  the  dayak crafts has alo many motives and model which are relevant with the needs of the times. 

If at first batik was only worn at ceremonies or weddings, Batik Benang Bintik is now often used in a variety of important events such as festivals and arts and cultural activities of other regions In addition, all the motives have a meanings, so it is not done at random, but rather through a process that is not easy work. But unfortunately no one of the motives, has been patented or recognized as intellectual work. Why is that, because to proceed one brand it takes 2 to 3 years, he explained.

All the material for production  such as mori fabric should be imported from Jepara, Pekalongan and Solo while others such as chemical, canting and wax can be obtained in Palangkaraya. All these high cost made Batik Palangkaraya to be expensive while the business has been done for generations, MAde in indonesia

In the area, there are 11 other batik craftman and on average they have two to three workers. Labor for this type of batik cap and batik tulis from Griya Benang Bintik only about 40 people. With the existing conditions, the production is still limited. Besides more depend on orders for the purposes of uniform, batik is produced only 10 yards away in every kind.

The  selling  price  varies  from  2  meters  Rp

100 thousand, - to Rp 4.5 million for the types of batik tulis sarimbit which is made by non- woven machines (ATBM). Here the price is also determined by the color and complexity of tone. Although marketing has been up to Sampit and Muarateweh area, but it is still expected from government in helping SMEs like promotional products through exhibitions, Sinta added

Batik Kalimantan Barat

visitors can choose anything distinctively local. The price also varies from hundred thousands to millions. Special,  to  motif  typical  ordinance, indeed an abundant wealth. Inspiration motives of various ethnic cultures that exist as endless. “What is lacking here, the number of batik craftsman,” says Wiro Sarwanto, a motif designer from Kalbar who is also the owner of art gallery”. Wiro,  who  comes  from  Laweyan  Solo  and has lived in Pontianak since the 1970s, revealing exploration at various places in West Kalimantan show inspired motif is quite abundant in the province. Moreover, from the ethnic Dayak, who has hundreds sub ethnic showed peculiar to each.

His wife are from West Kalimantan Sintang revealed, Kalbar typical batik which is in Revelation Art Gallery Road M Sohor Pontianak favoured by buyers, especially outside the cities. In fact some of them from Brunei Darussalam and Malaysia. He and his wife have tried to educate some people, but very few are consistent at it.

Government agencies, particularly the Small and  Medium  Industry  Training  Unit  (UPT SMI), The regional offices of Ministry of Industry and Trade . Is an institution that continues to encourage the development of batik industry in the province. “Batik industry is encouraging to raise and grow, By cooperation with Dekranasda Province, we continuesly nurture the people who wants developing batik business or traditional Kalimntan batik “said Zubaidi, Head of Unit-IKM Disperindag Kalbar. Zubaidi admitted that batik craft is not a native of West Kalimantan people, but when batik being developed following a loom that has long existed, MAde in indonesiA

then it becomes easier. Batik motives can be taken from woven motif. Inspiration motif for “Batik Kalbar”, is largely derived from weaving motives, flora and fauna, and the typical home from Kalbar. While his feature can be from ethnic Dayak, Malay or Chinese, a sizable community in the province.

Flora-fauna  motif  has  also  commonly  used in weaving motives, including “Pucuk rebung bunga pasak” (meaning for beauty and fertility), “Burung merak ekor bersambung” (meaning for engagement of men and women who are married), crocodile (from ethnic Dayak meaning for mighty), pig imak/forest pig (from the ethnic Dayak meaning for family relationships which related each other), and mayang murang (in order to be facilitated in every way).

The later motif that evolved is arwana motif, in Pontianak the motif that oftenly used in public activities is gills pattern while in Singkawang is Tidayu motif which is a combination of Chinese, Dayak and Malay.

Anyway, with all its limitations, the traditional Batik of West Kalimantan is already existed. Now, all related parties need working together in order to raise its development and Kalbar batik become

the pride of Kalimantan people. (source : kina Edisi Khusus)

Batik Sasambo

Like Budayati Japa, the owner of Kepeng Mas brand, who was asked in one of the exhibition stand Inacraft in Jakarta, some time ago. “It can’t be denied, the term of batik and batik technique known here is originated and made by The Javanese. Even the raw materials such as fabric for batik as well as canting are coming from Java Island. They collaborate with some designers to teach us how to make batik” she said.

I’ve been started batik business since four years ago. We use fabric “Mori” as the main materials for batik as taught by our Javanese instructors. For the time being, we use synthetic/chemical dyes for colourings since technical difiiculties in natural dyes. Eventhough we also producing a combination of batik and woven. Although   we   learned   batik   from   zero, but currently I have employed 12 craftman, eventhough we haven’t been able to produce batik with the quality as good as Javanese made. Now, we produce handmade batik on silk, and the products are accepted by the market with a price of about Rp.

1, 5 million per sheet. There are also printed batik with Mori or cotton materials at a price of Rp 150 thousand to Rp 500 thousand per sheet.

In terms of techniques and time period, it needs longer time for handmade (written) batik, about two weeks to 1 month, but for printed batik it can be mass productions. We consider that ‘batik-fever’ currently have led us in dillemma condition due to the limitation of our capabilities to make high quality of batik. However, because the government has launched that batik as one of National cultural heritages and as consequences to all regions whose having batik industries should be on develop them.

“Yet, on the other hand, we are more expert to produce woven fabric. So because more familiar with weaving skills, it is very difficult and need much more time to learn batik processing. Beside a competition with Javanese craftman as a benchmark of batik technique, we also have another copetition with the Balinese in some aspects such as culture, tradition, and arts which is well known in the world. So we should develop the motifs that were originally came from NTB regions. Bali is leading in using of natural dyes, and they have more skill in eliciting natural colors. Motifs of Sasambo batik are usually in the form of rumah adat (custom house), lumbung padi (granaries), animals, and variety of arts, “He explained. There are motifs like Shellfish, Nyale, Blue Swamp Cabbage Leaf, Large chilli, Bebele Leaf, Bebele Orange Leaf, Bebele Pink Leaf, Purple Kale Leaf, Sea, Peresean, Sebie, and Thousand of Mosques motif.

Usually, Sasambo Batik motifs are include Made Sahe (cow’s eye), Kakando, and Lengge Uma (traditional house with a dome that look like a cone). Thus the differences of each region is usually showed by the design and color produced. Like a lizard motif which we understand is definitely different from the picture of lizard in Java. Similarly for varied picture of masks, which are also the typical of Sasambo batik. These characteristics are also crafted on wood as a Handicraft.

Batik Bali, indonesian

As what was done by Ida Bagus Made Adnyana who has been accompanying his wife, Ida Ayu Ngurah Puniari working   on   woven   songket   with natural dyes and Bebali fabric with brand “Tuhu Batu”. I, myself was a painter, while my wife worked on the weaving business since 2005.

Based on Bagus, at all this time he has been helping his wife looking for materials for natural dyes fabric.” From here I found Mengkudu’s root to produce a red and yellow colour; also Tarum’s leaf for blue colour. Brown colour can be taken from Mahogany, and yellow colour can also be taken from Jackfruit’s wood. The motifs are mostly various flowers’ shapes. After that, I studied the science of patterning batik on a fabric from a friend, Tjok, the name who until now has wrestled or moved in the Foundation of Pecinta Kain Bebali. This foundation tries to conserve woven fabric from Bali, including also the collection of various Batiks across the country.

From the lesson, I gained the experience to batik, including the one executed on a silk and cotton fabric. So, I did not batik on a mori fabric. To be able to batik, silk and cotton’s fabric has to be soaked with kemiri leafs, for the duration of less than a week, this fabric cannot absorb the natural dyes. As can be seen by its use, batik fabric or woven fabric is used as a second layer, which is usually worn in traditional ceremony or special ceremony especially in a Hindu notable day. Our culture is also accustomed to use traditional cloth in the book of “pewayangan”.

Meanwhile the process of making batik, starting from painting the pattern until the end requires around two weeks of time. That is because the process of dyeing is repeated five times, then the original colour reaches the surface. I with my child on June tried to produce this kind of batik, but this  has  not  been  commercialized.  Because facing the problem of how to make this Balinese Batik to be a home-industry, which soon to be MAde in indonesia hoped to increase to be a bigger industry, we hope that the Ministry of Industry or the agency of Industry and Trade on the area gives a direction, so that this industry in the future can be better.

Moreover, all this time, the dyeing technic in Bali tends to use more synthetic colourings, which the production is relatively simple compared to using natural dyes. Because of that, I ask for supports from the agency in this area to support the use of natural dyes, which looks more environmental-sided than chemical colourings. We also have not been adapted of using “canting” like batik artisans in Java, because this equipment is not easily found around Bali. We need to buy it with a “quite expensive” price because this canting is supplied from Java. That is the reason why we need a direction again, including on the economy- side, how much is the materials, the process, until the market aspect,” said Bagus whose production is around Sukawati, Gianyar, Bali

Batik Madura

The use of color in Batik Madura is almost identical to the red color,” said Ahmad Rizki, brand owners of Safwa Batik  who  already  join  home  batik industry since 2003. Having 5 people as his employees working for him, he often employs ‘ contract labor ‘ that number could reach 30 people while if receive a lot of orders. In addition, it is also common to work in partnership with workers, considering there are about  28 batik villages in Pamekasan.

Initially I joined my mother (Faiqah Ismail) who is since 1994 had already been developing a batik brand   ‘Fiesta Madura’ in Pamekasan, Madura. Batik Madura includes coastal types batik, with different types of batik with inland batik. Batik Madura free nature is tend to reflect the character of the area, especially on the type of batik tulis, “Rizky said the production of batik tulis and batik cap, still using chemical dyes, because natural dyes tend to need more capital.

There are three types of batik, which is kind of a classic, the kind of contemporary, and modern design types. “I embrace contemporary classical motives, while my mother adopts full classic motif.. In classical batik motives every motives usually contained the name of its motives, the meaning of motives, and also the intention to use (usability).

As if one of the motives name Motif Sabet Manik (name), the meaning is a man should be responsible to his family, describing the eternal love, and the designation is as gift ahead of customary marriage. This motif, added Rizky, has been known since the days of the Majapahit Kingdom, meaning that the motif is also known from Central Java.

Whereas the motive batik from Central Java, usually done with a delicate touch, because the character of the Central Java that are graceful, and more patient when make batik. While the character Madura people that are scattered in several areas namely Bangkalan, Sampang, Pamekasan, and Sumenep, on average performed more strongly, so it felt obvious. A number of other motives familiar claim results as Jagat Puri keper (butterfly), Tasek Malaya, and Fajar Menyingsing.

“Within one week our creative ideas can be generated about 200 motives in Pamekasan area. Because in this region there are 12 to 15 thousand batik maker, with the number of craftsmen between

500 to 750 workers. Motif batik has been known for a long time, such as in 1950, there Palasan Leaf motif. Based on the myth which is believed by generations, Palasan tree was once credited to one of the characters related to the story of the royal house of East Java Batik.

However,  in  general  a  well-known  motif are  common  motives  that  are  figurative, semi- figurative and non-figurative. He added special batik tulis which was built by his mother brand “FIESTA MADURA,” has obtained a certificate of Batik Mark since 2010 from Handicraft and Batik Center Yogyakarta. He added that the government should socialize more Batik Mark tagging, so both the employers and the batik user community understand what is the government’s attempt to preserve batik through this effort. Source : Kina edisi khusus

Batik Pattern Tuban

As explained   by Siti Fatimah the production  process  of  Gedog  Batik, is started from   the cotton yarn harvested  by the local farmers,  then it is processed into woven cloth before finally processed into batik. Fatimah now is the residents of Tuban   running   the business of “Aftrees” Gallery, specialized in selling woven cloth Gedog Tuban with coastal motif.

For certain peoples, they understand the quality differences of product that made from Gedog machines and ATBM (non-woven machines), even more  the prices is approximately one third more expensive.   The other Batik is usually produced directly by using the cloth bought from Jepara, Central of Java. In a month, 20 pieces of cloth can be produced by ATBM. Meanwhile it needs a month to produce a piece of cloth for Gedog Batik. The cloth for Gedog Batik is characterized by it’s surface that appears a bit rough, like saroeng. With a manual process, one month we can only produce one sheet of cloth.

“But,   do   not   mistaken   since   based   on the scientific research, the cloth containing natural  materials  is  better  used  for  those  who often experience skin allergies. This research is increasingly proving that the use of non-chemical materials is safe for those with problematic skin because of the free nylon material. The dye usage is mostly derived from natural dyes such as Indigo (for blue),   mahogany (for red), the color of the clay and also banana leaf”, as Fatimah further explained.

Cotton growing in Tuban area is usually planted  on  the  sidelines  of  the  moor  fields, among maize or peanuts. It takes three months from  planting to harvest. Every cotton tree can produce yarn weighing about ¾ kg, with the price ranges from Rp 20 thousand to Rp 25 thousand depending on the quality. According to Fatimah, 60 kg yarn is needed to produce 30 to 40 pieces of woven cloth for batik. Fatimah added that her business starting around the year of 2000 was run before Tuban Batik getting popularity as now.   At that time, only few people in Tuban was   actually dealing with  weaving     and  crafting  batik  so  when the exhibitions held in Jakarta, Batik Tuban experienced less appreciation. Whereas, based on its history, in 1995 former Social Affairs Minister, Siti Hardiyanti Rukmana in cooperation with the Department of Industry have trained the craftmen for 3 months. It is estimated there are now about a hundred batik craftmen in Tuban.

Fatimah’s company employs  80 workers  for weaving and batik. As explained by Fatimah, it is much easier to recruit workers for batik rather than weaving since weaving process is more difficult and needs more physical power. In order to promote Gedog Batik she expects Gedog Batik can also be produced widely in other regions outside Kecamatan Kretek.

Talking  about  the  motif,  the  most  typical of Tuban Batik  is Guntingan motif,  inspirated by the wings or leaves that have been modified, so it delivers impression of pointy or sharply. In general,  the most common motives or patterns in the coastal area is the design pattern derived from of nature features such as Hong bird, the tree of Kembang Kapas, Ceplok flower, and sea products such  as  fish,  shrimp,  and  crabs.  Eventhough there are some contemporary motives, the typical motives as mentioned earlier such as Ceplok flower, Hong bird remains exist usually in the border of cloth. Recently, there are more than a hundred motives for Tuban Batik, including Lokcan, Cuken, and Krompol.

The Customers of Tuban Batik was firstly Dutch and Japanese citizens. Later, the United States citizens started collecting Tuban batik as parts of material for home interior decoration. Now,   so   many   Indonesian   people   recognize and love Tuban Batik as a cultural heritage of Indonesia.

Source : Kina Edisi Khusus

Batik pattern Jombangan

Batik product,  called  Batik  Jombangan rely more on natural colors which material taken from the waste materials (waste)  that  is  processed  in  various motives   of   typical   Jombangan.   Ririn   Asih Pindari, the owner of Batik Sekar Jati, in Desa Jati Pelem, District Diwek, Jombang said, the idea of combining natural colors had been designed long time ago. The advantage of using natural color is suitable for anyone who used it.

Allergic to chemical material makes Ririn Asih Pindari created new business opportunities. With  brand  ‘Batik  Sekarjati’,  she  specializes in producing batik cloth using pure natural ingredients. Her seriousness made clothing production is always hired by public and government officials. “Wearing batik Jombangan has never been received any complaint of allergies or hives. Natural color is much more secure,” Ririn said.

Ririn explained, the natural colors came from a blend of several herbs and fruits that existed in nature such as rambutan skin. “We also continue to conduct experiments on a variety of plants. Which surely guaranteed that Batik Jombangan is not inferior to others,” Ririn said.

Batik Sekar Jati also show Jombangan motif. One of them is Candi Arimbi motif. This motif, he said, has been patented by the regency of Jombang so this Candi  Arimbi batik motif belongs only to Jombangan. In addition with Jombangan motif, she also developing batik with animal motif so her batik tulis will be more varies. The result was not in vain.

According to her, at the beginning of creation, she acknowledged the difficulty in selling because of the color display that looks fade and the price is higher than the batik using chemical colors. But behind the difficulties, many overseas customers who enjoyed batik clothing. Indonesian buyers often bringing her homemade batik abroad, such as Japan, Australia, Germany and America.

In marketing her products she actively participated  in  various  exhibitions  nationally and internationally. “In addition to the cities in Indonesia, we also often following exhibitions in Germany, Australia and Japan. If for overseas, most prominent market is Japan, especially batik with shades of nature,” she said.

He  also  hoped  the  government  facilitates every effort made to promote batik Jombangan. Batik, she said, is part of the heritage and culture of Indonesia

Batik Pakualaman

Therefore,  it  is  not  surprising  that Yogyakarta  batik  industry  has  been growing   and   developing   well, and becoming   the   benchmark   of   batik industry in other regions. In fact, the development of batik industry in Yogyakarta has been mainly influenced by arts and culture of Yogyakarta palace. Whereas there is also Puro Pakualaman located in the Duchy of Pakualaman which has also kept so many historical heritages such as high-value manuscripts of arts and  literatures  that  have  been  barely  known by Indonesian people and others. Some of those manuscripts of arts and literatures inherited by Pakualaman Duchy have been neatly arranged in Pakualaman Library.

The Puro Pakualaman, now led by Paku Alam IX  who  engage  with  community  participation, in order  to give more benefits to the community. It   was motivated B. R. Ay. Atika Suryodilogo, daughter in law of Paku Alam IX, to introduce various artworks of Pakualaman heritages to the public through the media of batik arts.

Therefore, since four years ago Atika has started to transcribe, create and develop various Pakualaman batik motives derived from the heritage of the manuscripts of Pakualaman writers. Surprisingly, her effort has been widely appreciated by many parties, such as the general public, batik lovers and collectors, academics, experts and researchers, government officials, even from Paku Alam IX himself.

With the help of four batik artisans, she has now successfully created a number of beautiful Pakualaman batiks characterized by classic shades and meaningful  philosophy. To produce a piece of hand-made Pakualaman batik cloth, it takes about 3-6 months. The Pakualaman batik has been introduced to the public through several batik exhibitions in this country. Some  Pakualaman  batik  motives  artworks

created by Atika are Wijaya Kusumajana motif, Sestra Lukita motif, Asthabrata series motives (Batara Indra, Yama Batara, Batara Surya, Candra Batara, Batara Bayu, Vishnu Batara, Batara Brama, Batara Baruna), and also Sari Uneng Makara motif.

Atika said that the initial triger to revive and develop Pakualaman batik was due to so many questions from the public posed to her about Pakualaman batik. Hence, she finally decided to reproduce the ancient batiks inherited by Puro Pakualaman and ancient batik motives derived from the manuscripts of Pakualaman Duchy heritages. The goal is of course, to preserve and also develop the ancient batik motives inherited by the royal palace. The first step done by Atika was to collect all the ancient manuscripts and then to be transcribed into the batik artwork.

Moreover, she has a plan to further dedicate herself into the batik business next year by commercializing Pakualaman batik. It should be done in the hope Pakualaman batik of Yogyakarta can be hosted in its own city as well as to preserve and develop Pakualaman batik.

“I want to be batik entrepreneur by still maintaining and upholding the original patern. Thus the batik we are going to produce is a clasical hand-made batik enriched with the philosophical meanings as well as the beautiful and interesting colors in it. I expects   Pakualaman batik of Yogyakarta will be widely known not only in Indonesia, but also around the world, “explained Atika.

Batik Pattern Yogyakarta, indonesian

Not only for their own use, but also as souvenirs or gifts as a proof they have visited Yogyakarta. In fact, there are many tourists who comercialize the Yogyakarta batik at domestic and foreign markets. Batik business opportunities in domestic market  is  still  widely  open  to  be  exploitated, given there are lots of potential consumers for batik scattered in many big cities such as Jakarta, Bandung, Semarang, Surabaya, Bali, Makassar, and so on.

From thousands of batik manufacturers and traders in Yogyakarta, Pertiwi batik is one of the manufacturers / traders that is able to survive in the current tight competition. All people know that, the more producers / traders running the business, the competition among them will be increasingly intense. In today’s global era, trade competition occurs not only among producers/ local traders, but also comes from imported batik, like China batik, Malaysia batik and so on.

Siti Pertiwi Utami, a producers and seller of Pertiwi batik is one that can survive and able to compete in Yogyakarta market. According to the business owner, Siti Pertiwi Utami, creativity and innovation are the key success factors to compete. Specifically, added Utami, an effort to create new motives or designs should be continuously carried out. Not only the motif and design, the proper and efficient use of raw materials is also significant factor   to   determine   the   success   of   running batik industry. By ignoring the creativity and innovation aspects in batik industry, most likely the customers will leave us, stressed Utami.

“In fierce competition, coupled with limited purchasing power of consumers in general, the consumers prefer to choose batik with lower price,” said Utami to Kina reporter in her office. She added that only a few consumers visiting her batik gallery that buy batik with high quality.

To anticipate such market conditions, in the last few years Batik Pertiwi has started producing various kinds of batik motives to meet various market demand, from lower, middle up to upper class.  With  such  strategy,  Batik  pertiwi  able to  meet  its  customer  loyalty.  Even,  there  are many local  government agencies to be the main customers for procuring the uniforms.

Answering the questions related to the production capacity for large number of products with competitive prices, Utami confidently responds that she has a capability to meet the order if buyer gives enough time to produce. Optimist attitude  shown  by  Utami  is  quite  reasonable since nowadays she has 70 employees, a sufficient number to conduct production, marketing and administration. She also employs enough number of experienced designers. She is also supported by 7 craftmen as business partners. All of them are the assets of Batik pertiwi to fulfill the large number of market demand, said Utami while closing the talk with Kina Magazine. Source : kina Edisi Khusus.

Batik Seragen, indonesian

These    two    batik    sub-centers    are supported by    many    batik    home industriy   vilages,   located   adjacent each other. These two batik sub-center are neighbors and only separated by Bengawan Solo river, Plupuh in north-side and Masaran in south-side respectively, The villages of Pilang, Sidodadi, and Kliwonan are located in the south of Bengawan Solo river and part of Masaran sub-district. Due to being located alongside the river (Bengawan Solo river) – they are called “Girli” (Pinggir Kali- Javanese language) and their batik home industies are also known as “Batik Girli” (Edge of the River Batik). There are about 4,817 batik craftman in their two batik sub-centers and employing at least 7,072 workers Accessibility Most Batik craftman live in Kliwonan village. The quantity of products produced by Kliwonan craftman is the largest one. Therefore, the area producing batik in Sragen region is later better known as Kliwonan batik center. The Sragen local government, then established it as an integrated tourism area, which is called the tourism village of Batik Kliwonan. Kliwonan village is once appointed to be the center of the developing, training, and marketing of batik. 

The Tourism Village of Kliwonan Batik is located about 12 KM south of Sragen city, 15 KM northeast of Solo city and has been equipped with adequate public infrastructures and facilities. When arriving at this tourism batik village, the tourism can not go for shopping, they can also watch the batik processing closely, such as the drying process, dyeing process, motif design, coating process with paraffin, and the final process of making batik.

The Sragen Batik style was originally similar

to that of Solo style, especially in the ‘80s. This is not surprising, because the pioneers of batik in  Sragen  had  previously  experienced  working as laborers in Solo batik industries. Sragen batik industries then develop their own characteristic successfully, different from those of Yogyakarta and Surakarta batik.

The Sragen batik craftman generally produce various types of batik, handmade (hand-writing), stamps, printing, and the combinations. However, most of the craftman still maintain hand-writing batik on primisma cloth. This traditional techniques (Sragen hand-writing batik) has showed the remarkable ability to survive within the high competition recently. By maintaining its traditional technique,   Kliwonan batik craftman are considered as rare exotic assets that has to be preserved. This is really the appeal of Kliwonan batik tourism village.

The high competitiveness of Sragen batik is not a mere figment. Although carried   out only by home industry-based products located in rural villages, their   production capacities can not be underestimated. It can be seen, that the cotton type  batik    produced  in  2005  achieved  about 50,000 pieces, while silk type batik   of manual loom machines reached 365,000 pieces. Not surprisingly that Sragen could be the contender of Pekalongan and Surakarta as the major regions of batik producers.

Indeed, their success do not lead Sragen batik craftman to forget themselves. The people living in “Girli” batik centers area are known to be a religious community. They are also to be friendly, courteous, and please to guests. The Islam - the religion  of  the  majority  population  in  Girly batik center - teachs to honour guests.   That is the doctrine that has really been a lifeline to be implemented in their daily life . Source KIna edisi khusus.

Batik Pattern Banyumas

The craftman  imagination  describing batik  motif  greatly  affects  the  final result. That is why, it is almost never the case one motif can produces the two or more batik that are exactly the same. The batik art it self is a blend of motif design, decoratives, and colors processed through dieying and waxing.

Batik has been a part of the Indonesian cultural heritage. Most people love and own batik for some reasons. Batik can be used for the the purpose of clothes, the collection of art products, home decoratives and   other necessities. As a cultural heritage, batik has significant economic value. Batik is used for “batik nyamping for women ” or “batik bebed for men”, for saroeng, headband, tablecloths, bedsheets, scarves, shawls, curtains, clothing, and so on. We all know that the problems arising in the process of producing batik using synthetic dyes is the problem of environmental pollution, therefore to preserve the environment, batik industry have started  using  natural  dyes  derived  from  herbs as used by our predecessors. By using natural dyes, the industry will produces batik that are environmentally friendly as well as production process, while the people involved will be free from environmental pollution problems.

Talking about environmental preservation in batik processing with natural dyes, this process not only solves the waste problems but saves the use of ground water as well. Due to the fact that the use of natural dyes is safe for the environment, the waste water for   washing batik cloth can be directly flowed into the leach pit not far away from the source of water for daily use, which is wells. So that the water supply will be maintained.

Ibnu Subyandono is one of batik craftman with the brand “ Batik Tata” from Sumpiuh, Banyumas, Central of Java that consistently uses natural dyes, so that batik produced has its own characteristics in terms of both color and motif. He is a typical young entrepreneur who does not  easily  give  up.  With  limited  knowledge of batik industry as his background is not from the batik communitis, but with his dilligence hard work attitute he can create many new craftmen. This activity is carried out by giving training especially for the housewife in order to be able to paint on cloths using wax called ‘mencanting’, so that they can provide additional income for their families

Young involvement in the production process could give a fresh view of design  alternatives so that many new designs can be created.  Thus , in addition to the traditional  motifs, contemporary motifs also takes place a significant appearance in Batik Tata. 

With the continous training to a new batik generation in his village, he expects the awareness of  handmade batik  will  significantly  increase, so the preservation of cultural heritage can be maintained.   Last but not least, it can help the government in creating work opportunities. Source : Kina edisi khusus.

Batik Garut

Batik craft industry in Garut regency, West Java had experienced ups and downs from time to  time. Had time developed properly and reached the golden age during the colonial era of Dutch East Indies and declined during Japanese occupation.

ven in the era of independence was also experienced ups and downs, after being asleep during difficulty times in the early of independence era to the decade of the 1970s, the Garutan’s batik had hobbled in the 1980s when the batik craftman tried to rise-up from sluggishness There is Rajib Nasrudin (37), a businessman of  batik tulis (handmade), batik cap (stamp/block printed)  and  cap-handmade  combination  from city of Garut which is since 2005 had tried to rebuild the glory of Garutan who had cultivated by his ancestor According to Rajib, Garutan craft industry was rebuild in the 1980s, even had experienced a vacuum for many reasons, particularly because of the sluggish market conditions. But in the decade of the 2000s the market situation began to  increased  and  encouraging  him  to  establish the batik Garutan businesess, namely “RPG”, Weaving Silk and Batik Tulis.

Rajib said that his Batik Garutan is using two type of fabrics namely primisima and weaving silk, even more Rajib has also serving customer demand for batik tulis, batik cap and a combination of batik cap and tulis. “We still produce batik cap and a combination of cap and tulis since there is demand in the market.”

He added that The Garutan is generally characterized by the dominance of three main colors, namely Biron ( blue), Sogan (red brick) as influences of Yogyakarta and Cirebon batik, and ivory. In some cases, a motif/design and colors of batik Garutan is heavily influenced by a blended of the Netherlands, Japan, and China.

In addition to the influence of the above cultures, Batik Garutan has also another characteristics over other batik products in the country, namely the batik process is carried out on both sides of the fabrics (back and forth) so the both sides are equal looks each other.

Rajib who has currently two batik outlets in Garut is oftenly participates in batik exhibitions in the country. Through the exhibition Rajib has now many customers from many cities in the country, including Jakarta. “Thanks God, we have many requests, even from Jakarta that we can not fulfilled entirely. Therefore, to date we do not have planned   for export, since we can not meet the domestic demand “ Rajib has currenly 20 batik craftman working in RPG workshops. With the assistance of 20 people, each month he can produce 10-15 pieces of batik tulis, 300-400 pieces of batik combination, 300-400  pieces  of  batik  cap  and  300 pieces  of woven silk fabric that have not batik processed yet.

For Rajib, the main obstacles to meet the batik’s demand is a limited number of batik craftman. He felt that batik traning for public, especially the potential craftmen are very limited, even the socialization by goverment and private sector concerning batik crafts. “In fact, to date there is no batik school in Garut regency, therefore it is not surprising that young people are not much interested in batik.

Batik Pattern cirebon

The rows of  batik  showroom enliven along the right and left side of Trusmi Village.  Some  of  the  show room  are also serves as batik workshop. One of the famous Batik craftman is Katura. The batik’s enterprenuer whose owned by his family thorugh a number of generations.

Katura has started as batik craftman since 11 years of age, now his age is about 61 years. When he was 22 years, he had opened his own business assisted by five workers, and to date the business continues to thrive by having 30 people staff. Katura has produced a number of design patterns that have been in production and marketed by batik entrepreneurs in Cirebon.

Katura is known as famous batik craftman from Cirebon. He has received numerous awards, one is Upakarti award in 2009 that was presented by President Susilo Bambang Yudhoyono. The men who borned in 15th   December, 1952 was received Upakarti for his services in the field of preservation of batik industry.

One way of preserving batik that he did was setting up a batik studio. Any person who wants to learn batik Cirebon can stop by and practicing in his studio, moreover the studio is open for tourists. “Many tourists come to study here. We always provide handkerchief sized cloth to teach them how to make a batik, eventhough in briefly, but this is our effort to preserve batik,” said Katura.

The orders coming not only from local but foreign as well. Recently, Katura received orders from Japan. Interestingly, all Katura batiks are batik tulis (Traditional painting) production. Imagine that to complete each piece of batik tulis, certain batik needs one year or more, the prices is quite expensive when compared with batik stamp. Such uniqueness is the target of batik collectors both domestic and abroad.

“The Characteristic of batik Cirebon is smooth thin lines instead of dot lines. Unfortunately, currently  there are not many craftman that make a smooths lines, because it requires patience, perseverance, and thoroughness. While the batik entrepreneurs now more concerned to be quick and productive”, he said ,while apointing to one of the fine lines of his collection.

According to Katura, in general the motives of Cirebon batik can be grouped into two categories, namely keratonan (palace) and pesisiran (coastal) motifs. “The   nature ornamen is   to show the typical of batik pesisiran, while the other motif, a palace ornamen used to show the two palaces of Cirebon, namely Kasepuhan and Kanoman,” he said. The ivory color is also a typical color of

ik Cirebon. Other typical of batik Cirebon that widely known among other are Mega Mendung, Singa Barong, and Wadasan or Batu Cadas.

Batik Betawi

The Embryo of Batik Betawi  borned in Jakarta, formerly known as Batavia region, it was developed since 1930’s until 1940’s. Batik businesses are carried out either in individual scale  within home industries or bigger industrial scale.
when  telling her  story in  searching “classical batik” in Jakarta commonly known as clasical batik, Emma Amalia Agus Bisrie explained, that she does not only collect batik Betawi, but also as a collector of Kain Antik Nusantara, as well as various objects of arts and artifacts. Coleccting batik Betawi antique or oldies batik is actually much more difficult rather than that of other batik from other regions of Java. In the past, batik produced in several scattered areas, such as Karet Tengsin that produced printed batik and hand-writing batik, Palmerah located on Berdikari Street, Bendungan Hilir, Kebun Kacang and Kebayoran Lama. The famous motives were Pucuk Rebung and Buket.

At that time, Betawi people have recognized various techniques of batik, either the simple or too delicate batik technique. They are also good in using natural dyes, such as from Morinda citrifolia (Mengkudu) root for the red color. The quality of red color of the Morinda citrifolia, also known as batik Palmere, even close to the red color of batik Lasem, “said the mother of 5 sons.
Emma who focusing on Batik Betawi in the last three years continued, “After 1970s, entering an ‘80s and early ‘90s, Jakarta land prices was higher and higher. In line with the increased awareness of the preservation of the environment, The local government of Jakarta began to regulate areas where batik industry is existed. Batik waste which is dumped into the river, begining disrupted  the environment  and social life along the stream area. Eventually the industry run clandestinely, and gradually the industry shifted from Jakarta to the outer regions of Jakarta, such as Tangerang, Bekasi and Depok”.
When batik recognized as an intangible cultural heritage by UNESCO in 2011, it also bring a positive effects to the development of Batik Betawi, particularly in
Pulogadung area (East Jakarta). Betawi figures Ridwan Saidi returned to strive for baik Betawi batik to rebound, through Betawi originated flora and fauna motives such as fish, Scaly-breasted birds, Ulung Ulung bird, and crocodiles.
The motives enriched by various historical locations in Jakarta, such as Ciliwung River flows, Monas, Jembatan Gantung, Betawi traditional house, kebaya house model, warehouse models, Salak model, Delman Hias, Becak, Ondel-Ondel, and garnish teeth.
Since 90’s there are mutual cooperation betweeen agencies such as with Taman Ismail Marzuki (TIM), to produce batik with Jakarta icons such as ondel-ondel, delman, Bondel Birds, all of which are freely made to enrich the Betawi batik patterns.
I also proposed to Yayasan Batik Indonesia, to show that the Batik Betawi is exists, so it needs to be preserved. The result now there are eight recognized location as the site of originated batik Jakarta, namely Seraci Batik Betawi, Mawar Batik Betawi, Kebon Bawang  Batik Betawi, Gandaria Batik Betawi, Warung None Batik Betawi, Surya Cipta Batik Betawi, Terogong  Batik Betawi, and Milla House.
“I’m from Batik Milla since 1990’s have moved our business location to West Bekasi area, and in collaboration with 12 batik craftsman, we produce batik tulis which is takes around 3 weeks to 1 month for one fine batik tulis. While for Batik Cap (Batik Stamp) can be finished within 4 days for one fabric.
As the designer of Batik Betawi, I have proposed to Governor DKI Jakarta, Joko Widodo, to select Pucuk Rebung motives for the uniforms of local government. The meaning of Pucuk Rebung motives is as repellent of reinforcements, with the hope of DKI Jakarta free from floods. She also expects more people are willing to involve into Batik Betawi, so its presence will be more enlightening the characteristics of Betawi culture. Said Emma Amalia Agus ending the interview with KINA magazine

Batik Pattern Banten

while in fact, batik art had been existed in the province prior to the 17th century and disappeared  along with the fall of Sultan Banten. Now with its fascination, batik Banten is began to rebirth. The efforts to revive batik Banten has been done by Banten Provincial Government through the Decree of the Governor of Banten in October 2003 regarding the establishment of the committee investigators of Batik Banten.
“Through  the decree, motif assessment  has been conducted,  the results  of the assessment  motive  then presented to the national archaeologists, humanist and Banten provincial government in September 2004,” said Uke Kurniawan, a former vice-chairman of the committee study of Batik Banten.

According to him, based on research, has found 75 ornaments of Batik Banten. The motif originated from the history and local wisdom of Banten’s people. “Batik Banten has its own identity and characteristics, some of motifs  is adopted  from artifacts  of historical objects. Here’s the structure asset that characterized Batik Banten, “,he said. One of the fascination of Batik Banten is a pattern of datulaya. This motif has the basic rhombus-with flower and circles shapped inside figura leaf tendrils. The colors used are blue for basic motif, and gray for leaf tendrils figura on yellow-colored fabric. “Datulaya name is taken from the prince residence.
Datu means prince ad laya means shelter,” said Uke. By its characteristics, Batik Banten has now entered into international  arena.  This is reflected  the awards earned in the meeting of archeology from 52 countries in Malaysia in the end of January 2005. “From  Indonesia  we bring  the results  of a study on the batik Banten and we got the best predicate. while datulaya  motif signatured  by The Minister  of Home Affairs of Malaysia,” he said.
Uke added  that In fact, Batik Banten  is the first batik which have had a patent from the United Nations Educational,   Scientific and  Cultural Organization (UNESCO),  a  UN agency working  in the field of Education, Scientific, and Cultural
In  order to  introduce batik Banten to  wider community, Uke has ventured to plunge in the production of batik. This middle-aged  man started his business in 2004 with a capital of USD 100 million. Then its developed after getting funding assistance from a number of State-Owned Enterprises (SOEs). Initially, Uke has only a dozens of employees. Now his employees numbering in hundreds. “At first the people was not enthusiastic, but as the development, people began wanting to learn to make batik Banten,” he said. He produces batik cap, printing, and tulis. “For batik tulis needs a longer time. Within two weeks it can only produce one batik,” he explained.
Although  his business  is  still new, but public appreciation  on his batik products  is  enormous.  It is reflected  by the support  of   Banten  people  and its surrounding communities . In addition,  his production  also has penetrated  to international market. “Our buyers have reached Malaysia, Finland, Korea and several European countries,” he said. source : kina edisi khusus

Batik Pattern Lampung, Indonesian

Lampung is a part of the indonesian, has diverse and unique fabrics/cloths. Batik sembagi is one of them, but modernization and commercialization making a potentially to be a legend only.
Raswan Tapis, the owner of the Raswan fabric house who focuses on himself caring to all of fabric-form in Lampung explains that sembagi Lampung owns a geometrical motive of flora and organized as one. Sembagi can be worn by men and women and also has motives; some of them are sekebar, kaca piring, sedundun, and cina. Sekebar is the most used motive for the kings, and sedundun that has sedundun flowers as its motive, kaca piring motives with its kacang piring flowers, and sembagi cina that motive is taken from lotus flower.

Sembagi has a level of complexity in the production then it makes to be hard for development. “This is because the small dots pattern which is unbelievable. Many do not have the capability to make this. It can also spend two to five months because of the high complexity,” he said.
Batik sembagi, he also said, has two “tumpal” (geometrical shapes of triangle) at the ends. That is the different characteristic with Javanese Batik that has only one “tumpal”.
The other thing that stops sembagi from developing, is batik which is produced for commercial interest, not as a cultural respect.
Raswan admitted he has responsibility to promote and care about batik Lampung.  “If  there  are  people  admiring  and wearing, then we are successful in national level. If there are foreigners who adore and wear then, we have been successful at the international level,” he said again. Raswan also admitted that he has made many batik sembagi but lost in the market. “Because on the image they thought its siger, so if offered sembagi, they rejected,” he said. Motif of sembagi, can not find in other part of country. But nowadays, this motif is taken by Javanese batik craftman even though the truth is that it’s a motif from Lampung. He hopes goverment play an important role such as introducing sembagi through books and seminar, also worn by the officers considering the artistic value, and there is a story behind it, and it cannot be regarded as cheap.
Sembagi, is one of Lampungnese batik which has a classical artistic value that is worthy to wear and adopt to the surface reminding the philosophy and aesthetic of it. If not, for sure there is only one word: gone. Then, on the next generation, knowing it as only a legend.

Batik Pattern Jambi, Indonesian

A long time ago, Batik Jambi is used only as a custom clothing for Aristocrates and King of Jambi Malay, it begins in 1875 when Hajj of Muhibat and his family came from Central Java to settle in Jambi and introducing batik processing

the applied motif was decorative motifs as seen in carving traditional house of Jambi and their traditional wedding dress,  the  motive  is  still  in  limited quantities.
Basically, the motif used in batik Jambi, was not related with a tradition of caste divisions, it is more as an exclusive products with limited use at the palace. Along with the development, today batik Jambi appear with a variety of interesting motifs, almost in every regency of Jambi has its own characterisic. The character and local wisdom of Jambi Malay peoples in the past was symbolized in various of art, one of them is in batik jambi motifs.

Although none of depth study has been done about the philosophical meaning of various motifs, but Humanist Rassuh Ja’far explained that the motif is kind of character and representing the Ethnic of Jambi Malay which is simple, egalitarian and moderate, even slowly in response on changing.
The main motif on Batik Jambi is very simple, not complicated and conventional. Describing the characteristic of  human nature of Jambi Malay. If found details and complex motifs, it may a new pattern that emerged in the decade of 80s, “said the former head of the Jambi Cultural Park.
Asianto Marsaid in his book “Enchantment Batik Jambi” that published by the Regional Office MAde in indonesia of Industry and Trade of the Province of Jambi in 1998, its trying to describe the philosophical meaning of five motifs of batik Jambi.
The five main motifs includes the ancient and oldest motifs that ever made in Jambi, namely Durian Pecah, Merak Ngeram, Kuao Berhias, Kapal Sanggat and Tampuk Manggis.
Ja’far Rasuh, who is intense on researching Jambi decorative stated that until now, the only characteristic of batik Jambi motif that can be justified its original diversity is the simplicity of its creation and independence form the motif objects.
It means, unlike the motif of other region that tend to be sequential and forming a unified whole as well as repetitive, Jambi batik motifs stand alone (fried-fried), apart from the others, not sequential and stringing, so a lot of empty space in between.
In the contemporary of batik Jambi, the empty space is usually filleld with a decoration in the form of point sow, sow crooked, and lozenges. And not infrequently the space left empty, but a touch of bright primary colors, green, red or blue.
“Thebrightbasiccolorisalsoothercharacteristic of classic and contemporary batik Jambi,” he said.
In his book The Variety of Batik Jambi (2008) Ja’far Rassuh written that, at least there are about
50 kinds of motifs in Jambi batik motif is sometimes a long and development.
Among these are  “Daun Kangkung, Riang- riang, Kaca Piring, Pucuk Rebung, Bungo Durian, Melati, Bungo Jatuh, Bungo Cengkeh, Tabur Bengkok, Tabur Intan, Tabur Titik” and etc.
Batik Jambi with any motif can be used at any time, by anyone, anywhere. There is no provision that set, because it has yet to be ascertained what is the motive motive or motif oldest staple in the repertoire of batik in Jambi.
Local government through local office of Ministry of Industry and other relevant agencies until now continues to provide training batik craftsman in order to improve the quality and variety as well as Jambi batik patterns that can penetrate the market and increasingly popular

Batik Pattern Palembang, Indonesian

Palembang, so far is  known as the City of Pempek and “songket” producer.  Evidently, this city also holds batik arts that are not inferior to other regions in Indonesia. 

nterestingly, there are no animal patterns for Palembang batik. It is due to the influence of Islam forbiding the symbol of people and animals to be used as garnish. The famous
motifs used in Palembang batik are Lasem motif, and Tea Flower (Bunga Teh) motif. The Lasem motif is decorated with lots of plant pictures or flowers and also added with symmetrical lines, while the Tea Flower motif contains full of flower tea.
Other motifs are, for examples, Kembang Jepri, Sisik Ikan, Gribik, Encim, Kembang Bakung, Kerak Mutung, Sembagi, and Salahi. According to an artisan, Masayu Lela, Palembang batik uses several materials such as silk, organdy, jumputan, cotton, and blongsong. The batik raw materials are obtained from Surabaya, East Java, in the form of plain silk and semi-silk. After raw materials are ready, then they are dyed.

In the production process, there is a quite different between producing Palembang batik and Java batik. “Java batik, the fabric to be made batik is simply draped and then painted to be batik. However, for Palembang batik, the fabric is stretched tightly, then painted, “he said.
One of Palembang batik artisan, commonly called Cek Lela argues that dyeing process usually uses bright colors typical of Malay, such as red, yellow, and green light. Her products is sold to the big stores, such as supermarkets. Its market includes the area of South Sumatra province itself and other province such as Jambi and Jakarta.
“There are also buyers who come directly to the site of production,” she said. Her batik with “Lela Songket” trademark is sold at the price of 100,000- Rp350.000 per pieces, and the most expensive one is US$ 35  per pieces for Songket Batik with gold thread.
The batik producers locating in Jalan KH Azhari 4 Ulu Laut Lorong Kamasan RT 21 No. 1367 Palembang is able to sell 300 pieces of batik cloth and has a turnover more than Rp 10 million per month. “When the sale of souvenirs is added, the sales reached Rp12 million per month. We also often provide training to MSMEs (micro, small and medium enterprises), “she said.
In order to promote the popularity of Palembang batik in the society, she has tried to continuously promote it by following a number of regional and national events, such as the Pekan Raya Jakarta (PRJ) or exhibitions organized by the Ministry of Industry and other ministries.
“It takes time to re-introduce Palembang batik,” she explained. According to her, it is not easy to find typical Palembang batik artisan who is ready to use the canting media or writing directly on fabric to be batik.
The number of Palembang batik artisans are limited. Therefore, it requires supports from various parties to preserve and develop Palembang batik. The Sultanate of Palembang has tried to preserve the wealth of art and cultural heritage of their ancestors, of course by developing and producing Palembang batik

Batik Pattern Riau, indonesian

Long time ago, batik was as one of the traditional clothes from the Javanese culture and its production currently has been developed significantly. Slowly, several provinces outside Java also adopted this Batik with their individual unique pattern and motif that makes they have special characteristics.

As an examples is Batik from Riau province that expresses the traditional culture named Batik Riau.
Muhamad Rizki, manager of Batik at National Regional Craft Council (Dekranasda) at Riau province says that the Dekranasda building located in 140 Sisingamangaraja Street, Pekanbaru is a place where amateur batik craftsmen/artisans learn Batik. They trained in designing and making such motifs on fabric in order to create particular Batik products. Now, sadly, there are only eight of expertized craftman remaining in this building.

Based on his story, Batik Riau has existed since 1985 with the idea of conserving the culture of Riau Melayu through these fabrics and unique traditional costumes. However, with all of the problems that happened, Batik Riau was just only launched at 2005.
Since  the  launch,  Batik  Riau  has  given  a great benefit to a big part of society even though sometimes, craftman come and leave, Riau Batik has never been “fading” from its unique patterns either in the combination of the colours or the motifs design which differ froam the other Batik in general.
If the Javanese Batik is identical with icons such as “keris” and “wayang” that are well-known from time to time and have many variations in it pattern, Batik Riau gives an impression of harmony with the flower’s motifs mixed with smooth colours and a perpendicular plot known as “tabir”.
With this perpendicular plot, the Batik will give a classy-look impression and the wearer of this Batik will also look better in shape. Until now, based on Rizki, Batik Riau has had more than 300 motifs with a combination of smooth colours.
However,  around  these  many  motifs,  there are only 39 motifs are patented such as flowers motif include keluh anak, penuh putri berhias, palu buluh bertunas, tumpang tindih, matahati mutiara , mekar kuntum bersanding, kapas putih berhias, matahari bertabur kuntum, mekar kuntum bersanding, kapas putri berhias, matahari bertabur kuntum, and cengkeh mekar penuh.
Until    now,    according    to    Muhammad Rizki,  Riaunese  Batik  has  already  known  not only in domestic but also internationally with “travelling  around”  the  world  from  the  time it was initially launched. By participating in international promotion periodically such as   at Japan, Netherlands, France, Belgium, Malaysia, Singapore, and many others through a government event.
Although well-known around many developed countries, the market area for this Batik is still “circling around” inside its own region where it was made with constantly decreasing customers. Moreover, the government of Riau Province nowadays has a difficulty in marketing this kind of Batik into a wider range. “One of the problem is a limited knowledge of the society about Batik and the tight competition in the industry”, Rizki said.
The price that is relatively high makes the public to show a less interest. “Only a part of community who can be counted as rich is able to afford batik Riau”, he thought.  Even so, he said, the spirit to keep this cultural heritage must still exist with the tricks in the development. One of them is to teach the children across the country to afterwards develop batik in where they come from individually. It is really hoped that Riaunese batik is not only travelling the world, but also successes in getting the profit with widening the market area up to outside the country

Batik Pattern Bengkulu

Indonesia has many diverse cultures of arts. So many ethnic groups inhabiting the Indonesian regions in turns increasingly enrich the wealth of Indonesian cultures spreaded from Sabang to Merauke.

he wealth of arts and cultures embedded in the various ethnic groups hold enormous economic potential when they  are  properly  and professionally developed.
An example of art and culture is   Besurek Bengkulu. This Traditional cloth is none other than indigenous batik that is exist in Bengkulu region, since all of the production processes are exactly the same as that in Java. What distinguishing them is only motif or pattern and color selection in which Besurek Bengkulu is more colorful in line with the local value of art and culture.

Literally, the word Besurek itself means writing.  Therefore,  the  so-called  Besurek  cloth is initially always associated with hand-writing batik. But today the production of stamps and printing Besurek are also growing.
She is Hj. Rosmani Adjis, the tough woman entrepreneur, who started pioneering the development of the Bengkulu Besurek. In 1968 Hj. Rosmani began to run her business from scratch. Armed with the high spirit and batik knowledge and technique inherited from her predecessors, she started opening the business.
By employing 12 workers, Hj. Rosmani can produce Besurek for about 100 meters per week. For the production of Besurek hand-writing batik, the raw materials used are cotton and silk materials. To meet the market demand, in addition, she also produces Besurek printed clothes made of sun wash in amount of about 7,500 meters per year. However, Besurek printed clothes are not produced by Hj. Rosmani herself, but they are manufactured by printed batik factory in Java-in which the design and motif are determined by Hj. Rosmani.
“Previously, we employed  25 people in 2000.
The number of employees was deliberately reduced due to the decrease of orders. It happened since the number  of  artisans  producing  Besurek  clothes has been continually increasing. So, more and more new players coming in and engage in the competition, but for us it is not the problem, we share profits, “said Hj. Rosmani.
Besurek products made Hj. Rosmani are well known in Bengkulu region. In the market, they are sold by using ‘Limura’ brand. Hj. Rosmani has claimed that her products are only marketed in the local market, only in Bengkulu. But at certain occasions many buyers from other regions coming to buy her products.
She usually sells Besurek hand-writing clothes with a more expensive price than the Besurek printed clothes. For comparison, a new set of Besurek printed clothes usually are sold at a price of Rp 50,000 to Rp 75,000, while Besurek hand- writing clothes  made from silk materials are sold at a price of at least USD 1.25 million

Batik Pattern Padang

West Sumatra has known as province of the woven crafts . However, it doesn’t mean that the batik is not be admired. Batik has slowly to be emerged in some West Sumatra regions

to hey also explored their own motifs that reflecting the lives of people like a culture and natural resources.
A person who made the Cultural and Natural motifs of West Sumatra is Nurkholis. He involves Batik industry in Dharmasraya, one of the districts in West Sumatra province. “I have been involving in batik industry since three years ago” He said. Nurkholis is one of two batik Craftmans in the Dharmasraya district.
The High interest of the people at West Sumatra has motivated Nurkholis to dedicate his life as batik craftman. “I know there are a lot of people here love batik, but unfortunately, most of the sold batik is coming from other province, “he said.

Due to his love for his hometown, Nurkholis prefers to make batik with priority to the motifs that describing the cultural and local natural of Minangkabau. Thus, the batik which has made by  Nurkholis  with  “Padang  Sari”  trademark are mostly identified by palm leaves motif, ketok palu padang balimbiang,  itik pulang patang and sangkiang motifs. Heexplained,thepalmmotifsareusedtodescribe the prosperity and the existence of these plants in West Sumatra, particularly in Dharmasraya. Whereas, ketok palu padang balimbiang and itik pulang patang and sangkiang motifs represent the beautifulness of artcraft.
For one sheet of batik, he could make just one motif only, such as palm motif or even combination of palm motif and itik pulang patang. “It all depends on the request,” he explained.
In the process of production, Nurkholis creates his own design motifs which will be drawn on batik. After designing motif on primisima or woven silk has been finished, the next steps for each process will handled by his employees.
At one day, he could make 10 sheets of batik tulis and 15 sheets of printed batik. Although his existence has not been long, but Padang Sari batik has been much known in West Sumatra region. It can be seen by the number of orders from some of regions in the province. “The orders are increasing, both for personal and also for the office uniform need, “he said.
He is not satisfied in selling at local market, he tried to expand the market of Padang Sari batik. “I would like introduce Padang Sari batik not only in West Sumatera, but also to other provinces,” said Nurkholis.
He was participated of batik exhibitions which held  in  several  cities  in  Indonesia.  Moreover, the   Industry and Commerce local agency of Dharmasraya District has also contributed to the developing of Padang Sari batik by conducting promotion through many exhibition activities.
Nurkholis argues that West Sumatra batik has been accepted in other provinces. It can be shown from large number of selling Padang Sari batik in various exhibitions.
The huge of public enthusiasm to Padang Sari batik, of course becoming the motivation for batik craftman to continuously explore new motifs that reflecting the cultural and natural resources of West Sumatra. “The large potential market is a big opportunity especially for the batik craftman in West Sumatra, includes Padang Sari batik,” he explained.

Batik Pattern Tebing Tinggi

But the intervention of central government is still expected to realize the dream, and the traditional North Sumatra batik industry will grow and thrive.
The local government of Tebing Tinggi City, North Sumatra through the Local Ministry of Industry and Trade had called batik craftsmen from Medan to train 25 young women residents of Tebing Tinggi to acquire the skills and knowledge of producing typical Lemang batik design.

The Head of Industrial sector, Local Ministry of Industry and Trade of Tebing Tinggi, Khadidjah, accompanied by Prof. Efi Amroini Amroini Dradjat as instructors   in Batik Tebing Tinggi Training Center stated that they’re ready to promote Tebing Tinggi to become Batik City. It seems this dream is not excessive since  this region owns so many ornaments, patterns, and motives that could be economically developed.

Not only those mentioned above, through Typical Tebing Tinggi batik, the national cultural assets scattered in many regions can be introduced through batik. The trend of batik clothing becomes a new business opportunity for fashionista in the country. The typical Indonesian culture is highly favored even for foreign countries so that the availability of batik craftman leads a number of Districts/Cities conduct the batik training in order to produce its own typical batik motif.
Khadidjah added, their actions to speed up in realizing their dreams often face the problem of limited facilities. ‘’We still borrow the tables for student’s training activities,’’ explained Khadidjah. In addition, to support all training activities, they still have to bring in the equipments and raw materials for batik from Java such as stoves, pots, centingan, dyes, wax, and fabric.
The fabric purchased from Java in fact is much cheaper than from Medan. For example, the fabric purchased from Pekalongan is only Rp 20,000 per meter, much cheaper than from Medan which costs about Rp 80,000 per meter. Therefore to minimize the increasing costs, they really expect the central government supports, both budgets and other facilities. The cultural-based industries, in addition to lift the North Sumatra reputation, can potentially produce new entrepreneurs who also contribute to strengthen both the local economic position and the national economy in general.
The abstract motif nuanced produced by the talented young women is depicted over cotton fabric cotton with a large flower motif while showing a parrot, the struggle monument of December 13, bamboo trees as one of the main icons of the Lemang city, By depicting the characteristic of the regions, it is expected that the presence of its own batik will be accepted by local community and at the same time it will be able to attract local consumers to have it. It is highly possible that Tebing Tinggi traditional batik will also enrich the Indonesian batik culture and foreign tourists are expected to be interested in wearing batik Tebing Tinggi as well.
This step is one of efforts to secure government program on One Village One Product (OVOP).
‘’ This is one of the near future main product of Tebing Tinggi,’’ explained Khadidjah. Handmade batik made in Tebing Tinggi is expected not to replicate other region’s patterns so that needs to be patented soon.

Source : Kina edisi khusus
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