A Brief Description On The Role Of Batik For Indonesian Society

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Ripayandi David AJP : A Brief Description On The Role Of Batik For Indonesian Society, 2009.

A BRIEF DESCRIPTION ON THE ROLE OF BATIK FOR INDONESIAN SOCIETY

A PAPER

BY

RIPAYANDI DAVID A J P REG. NO : 062202049

DIPLOMA III ENGLISH DEPARTMENT FACULTY OF LETTERS

NORTH SUMATERA UNIVERSITY MEDAN

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iv Approved by

Supervisor,

Drs. Siamir Marulafau, M.Hum NIP : 131460771

Submitted to Faculty of letters university of North Sumatra

In partial fulfillment of the requrements for DIPLOMA (D-III) in English

Approved by

Head of Department,

Dra. Syahyar Hanum, D.P.F.E NIP : 130702287

Approved by the Diploma III of English Department Faculty of Letters, University of North Sumatra

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Accepted by the Board of Examiners in partial fulfillment of the requirements for

the D-III Examination of the Diploma III of English Department, Faculty of Letters, University of North Sumatra.

The examination is held on the

Faculty of letters, University of North Sumatra

Dean,

NIP: 132098531

Board of the Examiner and Reader :

Examiner : Drs. Siamir Marulafau, M.Hum

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AUTHOR’S DECLARATION

I, Ripayandi David AJP, declare that I am the sole author of this paper. Except

where reference is made in the text of this paper, this paper contains no material

published elsewhere in whole or in part from a paper by which I have qualified for

or awarded another degree.

No other person’s work has been used without due acknowledge in the main text

of paper. This paper has not been submitted for the award of another degree in any

tertiary education.

Signed :……….

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COPYRIGHT DECLARATION

Nama : RIPAYANDI DAVID AJP

Title of Paper : A BRIEF DESCRIPTION ON THE ROLE OF BATIK

FOR INDONESIAN SOCIETY

Qualification : D-III/ Ahli Madya

Study Program : English

1. I am willing that my paper should be available for reproduction at

the discreption of the Librarian of the Diploma III English Study

Program Faculty of Letters USU on the understanding that users

are made aware of their obligation under law of the Republic of

Indonesia.

Signed :………

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ABSTRAK

Indonesia terdiri beribu-ribu pulau dari sabang sampai merauke dan memiliki berbagai hasil kebudayaan yang berbeda-beda dari setiap kelompok budayanya. Kebudayaan sangat berpengauh terhadap kehidupan masyarakta di Indonesia dan variasi hasilnyapun sangat berguna bagi kelangsungan hidup masyarakat Indonesia. Kertas karya ini berisikan tentang salah satu hasil kebudayaan Indonesia yakni batik.

Batik adalah kerajinan yang memiliki nilai seni tinggi dan telah menjadi bagian dari budaya Indonesia (khususnya Jawa) sejak lama. Perempuan-perempuan Jawa di masa lampau menjadikan keterampilan mereka dalam membatik sebagai mata pencaharian, sehingga di masa lalu pekerjaan membatik adalah pekerjaan eksklusif perempuan sampai ditemukannya "Batik Cap" yang memungkinkan masuknya laki-laki ke dalam bidang ini. Ada beberapa pengecualian bagi fenomena ini, yaitu batik pesisir yang memiliki garis maskulin seperti yang bisa dilihat pada corak "Mega Mendung", dimana di beberapa daerah pesisir pekerjaan membatik adalah lazim bagi kaum lelaki.

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ACKNOWLEDGEMENTS

First of all, I would like thank to Almighty God, Allah SWT who has given me health, opportunity and ability that I can finish this study and to the last

Prophet Muhammad S.A.W.

Due to the completion, I wish to deliver thanks to Drs. Siamir

Marulafau, M.Hum, my supervisor and the Head of D-III English Study Program University of North Sumatera, who has spent a lot of time in guiding and

correcting this paper ad also to Dra. Oliviana Harahap, as my reader.

On this occasion, he would also like to thank Drs. Syaifuddin, M.A., Ph.D, as the dean of faculty of letters and all the lecturers of English diploma III, university of north sumatera who have guided and shared the valuable knowledge

during his study in this faculty.

Last but not least, his sincere thanks are due to his beloved parents, my

father Pardomuan Nauli Pasaribu, my mother Ruan Pery Sinaga, my brothers and sister, Padriyanda, Ripaldi and Pasriyanti and all my family in medan.

Then my best friends in English diploma III 2006, Depo, Dedi, Indra, Fakhriza, Fahri, Viola, David, Ansyor, Fadli, Dewi, Sri, Azmi, Menty, Lita, Dina, Reni and all my classmates.

I would also thank to all my friend in Teater O, HMI, PEMA, KOMPAS USU and the best in Warung saHIVa.

In writing this paper, I underwent many difficulties. Without any helps and

support from all parties, this paper would not be completed. Finally, I expect this

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A BRIEF DESCRIPTION ON THE ROLE OF BATIK FOR INDONESIAN SOCIETY

2. A BRIEF DESCRIPTION ON THE DEVELOPMENT Of BATIK 2.1History of Batik in Indonesia……….……….4

2.2 The Growth of batik in Indonesia…………..……….15

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1. INTRODUCTION

1.1 The Background of Study.

There are so many cultures in this world, especially in Indonesia.

Indonesia has many different cultures in their society. And one of the cultures is

batik. In this paper, i want to explain about a brief description on the role of batik

for Indonesian society.

Historically batik has recognized since the century of XVII, come from

ancestors epoch written and painted at palm leaf. At the moment motif of batik

was dominated with animal form and crop. But nowdays, the development of

batik is in a long a progress, that is from animal painting patterns and crop by

degrees change over at abstraction motif looking like cloud, temple relief, puppets

of beber etcetera. Then the combine of painting's pattern and clothes frieze art

resulted batik drawn as we know today.

In Indonesia, the history of Batik was related to Majapahit Kingdom and

after. Batik has develoved in the empire of Mataram, and the kingdom of Solo and

Yogyakarta.

Soon and later, in development of batik was imitated by closest people

and spread out to be worked by of woman in it's household to fill spare time.

Hereinafter, batik which is the beginning to be the families king clothes, later

become the clothes for common people, women and men are wear of it. And now

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iv 1.2 The objective of study.

As a student, I write this paper to fulfil the requirements to get the

diploma degree the English Department of the Faculty of Letter,University of

north Sumatera Utara

1.3 The scope of study.

Actually, there are many things that can be discussed about cultures in

Indonesia, but the writer just limited the discussion on the role of batik for

Indonesian society. Some of the role like on trading, symbolic, tourism and

etcetra.

1.4 Significance of study.

In this paper, I want to give some informations to the other people more

about batik and the role in our society so that will be make us proud with our

cultures.

1.5 The methods of writing.

In making this paper, the writer uses two methods, they are the library

and internet research. These methods are very useful in giving some important

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2. A BRIEF DESCRIPTION ON THE DEVELOPMENT Of BATIK

2.1 History of Batik in Indonesia.

Historically batik has recognized since the century of XVII, came from

ancestors epoch written and painted at palm leaf. At the moment motif of batik

was dominated by animal form and crop. But nowdays, the development of batik

is in a long a progress, that is from animal painting patterns and crop by degrees

change over at abstraction motif looking like cloud, temple relief, puppets of

beber, etc. Hereinafter, the combine of painting's pattern and clothes frieze art

resulted batik drawn as we know today.

The type and pattern of traditional batik is various kind. But the various pattern of it, is according to each culture and philosophy which is many kind. The

various culture in Indonesia has supported the existing of kind of batik in

tradisioanal type and pattern, which has it own special characteristic.

It would be impossible to visit or live in Indonesia and not be exposed to

one of the country's most highly developed art forms. On your first visit to a batik

store or factory you will undoubtedly experience an overwhelming stimulation of

the senses - due to the many colors, patterns and the actual smell of batik. Only

through repeated visits and a bit of study will the types of designs and their

origins become apparent.

Although experts disagree as to the precise origins of batik, samples of dye

resistance patterns on cloth can be traced back 1,500 years ago to Egypt and the

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and West Africa from past centuries. Although in these countries people were

using the technique of dye resisting decoration, within the textile realm, none have

developed batik to its present day art form as the highly developed intricate batik

found on the island of Java in Indonesia.

Although there is mention of 'fabrics highly decorated' in Dutch transcripts

from the 17th century, most scholars believe that the intricate Javanese batik

designs would only have been possible after the importation of finely woven

imported cloth, which was first imported to Indonesia from India around the

1800s and afterwards from Europe beginning in 1815. Textile patterns can be seen

on stone statues that are carved on the walls of ancient Javanese temples such as

Prambanan (AD 800), however there is no conclusive evidence that the cloth is

batik. It could possibly be a pattern that was produced with weaving techniques

and not dying. What is clear is that in the 19th century batik became highly

developed and was well ingrained in Javanese cultural life.

Some experts feel that batik was originally reserved as an art form for

Javanese royalty. Certainly it's royal nature was clear as certain patterns were

reserved to be worn only by royalty from the Sultan's palace. Princesses and noble

women may have provided the inspiration for the highly refined design sense

evident in traditional patterns. It is highly unlikely though that they would be

involved in any more than the first wax application. Most likely, the messy work

of dyeing and subsequent waxings was left to court artisans who would work

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Javanese royalty were known to be great patrons of the arts and provided

the support necessary to develop many art forms, such as silver ornamentation,

wayang kulit (leather puppets) and gamelan orchestras. In some cases the art forms overlap. The Javanese dalang (puppeteer) not only was responsible for the wayang puppets but was also an important source of batik patterns. Wayang

puppets are usually made of goat skin, which is then perforated and painted to

create the illusion of clothing on the puppet. Used puppets were often sold to

eager ladies who used the puppets as guides for their batik patterns. They would

blow charcoal through the holes that define the patterns of clothing on the

puppets, in order to copy the intricate designs onto the cloth.

Other scholars disagree that batik was only reserved as an art form for

royalty, as they also feel its use was prevalent with the rakyat, the people. It was regarded as an important part of a young ladies accomplishment that she is

capable of handling a canting (the pen-like instrument used to apply wax to the cloth) with a reasonable amount of skill, certainly as important as cookery and

other housewifery arts to Central Javanese women.

Selection and Preparation of the Cloth

Natural materials such as cotton or silk are used for the cloth, so that it can

absorb the wax that is applied in the dye resisting process. The fabrics must be of

a high thread count (densely woven). It is important that cloth of high quality have

this high thread count so that the intricate design qualities of batik can be

maintained.The cloth that is used for batik is washed and boiled in water many

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other sizing materials are removed. Prior to the implementation of modern day

techniques, the cloth would have been pounded with a wooden mallet or ironed to

make it smooth and supple so it could best receive the wax design. With the finer

machine-made cotton available today, the pounding or ironing processes can be

omitted. Normally men did this step in the batik process.Strict industry standards

differentiate the different qualities of the cloth used today, which include

Primissima (the best) and Prima. The cloth quality is often written on the edge of

the design. A lesser quality cloth which is often used in Blaco.

Design Tools

Although the art form of batik is very intricate, the tools that are used are

still very simple. The canting, believed to be a purely Javanese invention, is a small thin wall spouted copper container (sometimes called a wax pen) that is

connected to a short bamboo handle. Normally it is approximately 11 cm. in

length. The copper container is filled with melted wax and the artisan then uses

the canting to draw the design on the cloth. Canting have different sizes of spouts (numbered to correspond to the size) to achieve varied design effects. The spout

can vary from 1 mm in diameter for very fine detailed work to wider spouts used

to fill in large design areas. Dots and parallel lines may be drawn with canting that have up to 9 spouts. Sometimes a wad of cotton is fastened over the mouth of the

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Wajan

The wajan is the container that holds the melted wax. It looks like a small wok. Normally it is made of iron or earthenware. The wajan is placed on a small brick charcoal stove or a spirit burner called an 'anglo'. The wax is kept in a melted state while the artisan is applying the wax to the cloth.

Wax

Different kinds and qualities of wax are used in batik. Common waxes

used for batik consist of a mixture of beeswax, used for its malleability, and

paraffin, used for its friability. Resins can be added to increase adhesiveness and

animal fats create greater liquidity.The best waxes are from the Indonesian islands

of Timor, Sumbawa and Sumatra; three types of petroleum-based paraffin (white,

yellow and black) are used. The amounts mixed are measured in grams and vary

according to the design. Wax recipes can be very closely guarded secrets. Varying

colors of wax make it possible to disguise different parts of the pattern through the

various dying stages. Larger areas of the pattern are filled in with wax that is

cheaper quality and the higher quality wax is used on the more intricately detailed

sections of the design.

The wax must be kept at the proper temperature. A wax that is too cool

will clog the spout of the canting. A wax that is too hot will flow too quickly and

be uncontrollable. The artisan will often blow into the spout of the canting before

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Cap

Creating batik is a very time consuming craft. To meet growing demands

and make the fabric more affordable to the masses, in the mid-19th century the . cap. (copper stamp - pronounced chop) was developed. This invention enabled a higher volume of batik production compared to the traditional method which

entailed the tedious application of wax by hand with a canting. Each cap is a copper block that makes up a design unit. Cap are made of 1.5 cm wide copper stripes that are bent into the shape of the design. Smaller pieces of wire are used

for the dots. When complete, the pattern of copper strips is attached to the handle.

The cap must be precisely made. This is especially true if the pattern is to be stamped on both sides of the fabric. It is imperative that both sides of the cap

are identical so that pattern will be consistent. Sometimes cap are welded between two grids like pieces of copper that will make a base for the top and the bottom.

The block is cut in half at the center so the pattern on each half is identical. Cap

vary in size and shape depending on the pattern they are needed for. It is seldom

that a cap will exceed 24 cm in diameter, as this would make the handling too difficult.

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Dyes

Traditional colors for Central Javanese batik were made from natural

ingredients and consisted primarily of beige, blue, brown and black.The oldest

color that was used in traditional batik making was blue. The color was made

from the leaves of the Indigo plant. The leaves were mixed with molasses sugar

and lime and left to stand overnight. Sometimes sap from the Tinggi tree was

added to act as a fixing agent. Lighter blue was achieved by leaving the cloth in

the dye bath for short periods of time. For darker colors, the cloth would be left in

the dye bath for days and may have been submerged up to 8 - 10 times a day.

In traditional batik, the second color applied was a brown color called

soga. The color could range from light yellow to a dark brown. The dye came from the bark of the Soga tree. Another color that was traditionally used was a

dark red color called mengkuda. This dye was created from the leaves of the

Morinda Citrifolia.The final hue depended on how long the cloth was soaked in the dye bath and how often it was dipped. Skilled artisans can create many

variations of these traditional colors. Aside from blue, green would be achieved

by mixing blue with yellow; purple was obtained by mixing blue and red. The

soga brown color mixed with indigo would produce a dark blue-black color.

Design Process

The outline of the pattern is blocked out onto the cloth, traditionally with

charcoal or graphite. Traditional batik designs utilize patterns handed down over

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from memory and would not need to draw an outline of the pattern before

applying the wax. Often designs are traced from stencils or patterns called pola. Another method of tracing a pattern onto a cloth is by laying the cloth on a glass

table that is illuminated from below which casts a shadow of the pattern onto the

cloth. The shadow is then traced with a pencil. In large batik factories today, men

usually are in charge of drawing the patterns onto the cloth.

Waxing

Once the design is drawn out onto the cloth it is then ready to be waxed.

Wax is applied to the cloth over the areas of the design that the artisan wishes to

remain the original color of the cloth. Normally this is white or cream.Female

workers sit on a low stool or on a mat to apply the wax with a canting. The fabric

that they are working on is draped over light bamboo frames called gawangan to allow the freshly applied wax to cool and harden. The wax is heated in the wajan

until it is of the desired consistency. The artisan then dips her canting into the wax

to fill the bowl of the canting.

Artisans use the wax to retrace the pencil outline on the fabric. A small

drop cloth is kept on the woman’s lap to protect her from hot dripping wax. The

stem of the canting is held with the right hand in a horizontal position to prevent any accidental spillage, which greatly reduces the value of the final cloth. The left

hand is placed behind the fabric for support. The spout does not touch the fabric,

but it held just above the area the artisan is working on. To ensure the pattern is

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The most experienced artisans normally do first waxings. Filling in of

large areas may be entrusted to less experienced artisans. Mistakes are very

difficult to correct. If wax is accidentally spilt on the cloth, the artisan will try to

remove the unwanted wax by sponging it with hot water. Then a heated iron rod

with a curved end is used to try and lift off the remaining wax. Spilled wax can

never be completely removed so it is imperative that the artisans are very careful.

If the cap method is utilized, this procedure is normally done by men. The cap are dipped into melted wax. Just under the surface of the melted wax is a folded cloth

approximately 30 centimeters square. When this cloth is saturated with wax it acts

like a stamp pad.

The cap is pressed into the fabric until the design side of the cap is coated with wax. The saturated cap is then stamped onto the fabric, leaving the design of the cap. This process is repeated until the entire cloth is covered. Often cap and

canting methods are combined on the same piece of cloth.Better quality batik may be waxed utilizing canting in one part of Indonesia and then sent to another part of

Indonesia where the cap part of the process is completed. On better quality cap

fabric great care is taken to match the pattern exactly. Lower grade batik is

characterized by overlapping lines or lightened colored lines indicating the cap

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Dyeing

After the initial wax has been applied, the fabric is ready for the first dye

bath. Traditionally dying was done in earthenware tubs. Today most batik

factories use large concrete vats. Above the vats are ropes with pulleys that the

fabric is draped over after it has been dipped into the dye bath. The waxed fabric

is immersed in the dye bath of the first color. The amount of time it is left in the

bath determines the hue of the color; darker colors require longer periods or

numerous immersions. The fabric is then put into a cold water bath to harden the

wax.

When the desired color has been achieved and the fabric has dried, wax is

reapplied over the areas that the artisan wishes to maintain the first dye color or

another color at a later stage in the dying process.When an area that has been

covered with wax previously needs to be exposed so that it can be dyed, the

applied wax is scraped away with a small knife. The area is then sponged with hot

water and resized with rice starch before it is re-immersed in the subsequent dye

bath.

If a marble effect is desired, the wax is intentionally cracked before being

placed in the dye bath. The dye seeps into the tiny cracks that create the fine lines

that are characteristic of batik. Traditionally, cracks were a sign of inferior cloth

especially on indigo color batik. On brown batik, however, the marble effect was

accepted. The number of colors in batik represents how many times it was

immersed in the dye bath and how many times wax had to be applied and

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color piece. Numerous dye processes are usually reflected in the price of the cloth.

Nowadays, chemical dyes have pretty much replaced traditional dyes, so colors

are endless and much more liberally used.

The word batik is thought to be derived from the word 'ambatik' which translated means 'a cloth with little dots'. The suffix 'tik' means little dot, drop, point or to make dots. Batik may also originate from the Javanese word 'tritik'

which describes a resist process for dying where the patterns are reserved on the

textiles by tying and sewing areas prior to dying, similar to tie dye techniques.

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2.2 The Growth of Batik in Indonesia.

The history of Batik in Indonesia was related to Majapahit Kingdom and

after. Batik has developed in the empire of Mataram, and the kingdom of Solo and

Yogyakarta. Artistry of batik represent artistry of picture above cloth for clothes

becoming one of the culture of Indonesia epoch king family first. At the beginning

batik was done in limited just in palace and the result is for the king's clothes and

family and also its follower. Because of many followers of king which's kept out

palace, the art of batik was brought by them gone out palace and done in their

place.

Soon and later, in development of batik was imitated by closest people and

spread out to be worked by of woman in it's household to fill spare time. Infact,

batik which is the firstly to be the families king clothes, later become the clothes

for common people, women and men to wear. White materials which was used at

that time was resulted of homespun. While the colour of materials are used for the

original flora made by our selt for Indonesia, example : tree of mengkudu, tinggi,

soga, nila and it's soda materials is made from dusty soda, and also it's salt is

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3. A BRIEF DESCRIPTION ON THE ROLE OF BATIK IN INDOSESIA

3.1 The Role in Trading Sector.

Known to anthropologists and naturalists as “The Malay Archipelago”,

Indonesia archipelago has 13,667 islands strewn across 5,120 kms of tropical seas.

The array of peoples, languages, customs, and material cultures is astounding for

living here are over hundred distinct ethnic groups, each with its own cultural

identity, who together speak a total of more 300 mutually unintelligible

languages. Indonesian culture has a long history and was syncretically formed

through the cultural influences of Hindu, Buddhism, Islam as well as Dutch

colonialism. Among five main islands (Sumatera, Java, Kalimantan, Sulawesi,

and Papua), the island of Java formed a chain of ports on the trade routes between

the Middle East, India, and China for many centuries.

Indonesia has set forth the development objective for the industrial sector

as its structural reforms through accelerated growth, increased added value,

creation of employment opportunities and export promotion. To achieve the target

growths, one of the following policies is to strengthening of small and

medium-sized enterprises, including the promotion of community industries producing

craft product. It is expected to play an important role in the development of

lagging regions.

During the last two decades small firms in developing countries have

received more and more attention from researchers and policy makers. For this,

several reasons have been brought forward. The decline in labour absorption in

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of the economy, combined with the fact that the growth of the labour force has

accelerated, have led to un- and under-employment problems in many of these

countries.

Small firms are generally viewed as a useful means of alleviating these

problems, because medium and large firms only would not help to solve the

problems. However, from this study it can be concluded that the medium and

large firms in the manufacturing sector in Indonesia are doing better in

employment and income than generally anticipated. The demand for batik

products can be categorized into two types of products. The first is that demand

batik products (handmade and printed batik) that will be used as raw material of

convection industry which is further processed into ready made-wear. The second

is the demand for batik products of ready to wear type in the forms of scarves,

sarongs, and so on.

The sources of the demand itself consists of local (domestic) market and

the demand coming from export market.

1. Domestic Demand

Tendency in increasing demand for product of batik craft industry coming from

domestic market is much more influenced by some factors such as:

• Increasing population, special occasions, and holidays

Increasing number of new students who are registered to schools every

year and the change of new academic calendar will be closely related to

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batik uniforms, and there are also parties or wedding parties, and holidays

where people tend to wear batik as national dress.

• Increasing Social Income

Increasing social income has consequences in creating increasing demand

for batik clothes.

• The dynamics of batik businessmen in producing various products.

This case is related to the to the participation of batik businessman to

attain a certain form, type, and batik motive to invite consumer's interest.

• Price of related batik products

Batik product can be produced with relatively low cost this product is

usually consumed by people who have low purchasing power and so batik

is able to compete with other products or raw material of clothes.

Anticipation for development of motives that suit that interest and buying

capacity of consumers has to be regularly encouraged in order to enhance

consumption of batik products.

• Local government program in increasing participation of batik industry

and tourism sector

Pekalongan is not a traffic line of tourist arrival. But this region is passed

by the most crowded traffic line for the local inhabitant, which comes either from

the east or west of Pekalongan. By taking the advantage of the crowded line and

the potenti al of batik industry, Pekalongan Autonomy Administrative

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In fact, this market is able to support increasing batik product selling. The

role of this market has been beneficial for traders who occupy small stores in the

market especially on holidays as domestic tourists who are travelling will stop by

at this wholesale market. This market also functions as a place for promotion and

trade transaction of various batik products executed by batik traders from outside

of the region. The very strategic position of the wholesale market has benefited

producers of batik craft industry because it is able to increase batik orders for

various types, shapes, styles of various ready-made wear up to the needs of batik

as the household equipment such as curtains, bedcovers, table clothes, etc.

2. Export Demand

The kinds of batik products that have been sold to meet demands from

overseas market consist of :

1. Ready-made wear ( garment )

2. Batik Sarong

3. Wraparound Batik

4. Printed Batik

Increasing or decreasing demand from export market is very much

influenced by the ability of Indonesian batik to compete with batik products from

other batik producing countries such as Thailand, Malaysia. Besides, creativity of

batik producers and the designers in Indonesia, unceasing promotion concerning

batik product and the effort in executing batik export using environmental

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because the export destination countries have put into effect that Indonesian batik

has to be produced without causing environmental damages. Otherwise, the export

of Indonesian batik products can be hampered.

Batik has come to be used as a generic term which refers to the process of

dyeing fabric by making use of a resist technique; covering areas of cloth with a

dye-resistant substance to prevent them absorbing colors. The technique is

thought to be over a thousand years old and historical evidence demonstrates that

cloth decorated with this resist technique was in use in the early centuries AD in

Africa, the Middle East and in several places in Asia. Although there is no sure

explanation as to where batik was first 'invented', many observers believe that it

was brought to Asia by travelers from the Indian subcontinent.

Indonesian's batik has been recognized since Majapahit kingdom and

development fill next empire. For the strarting to spread up the batik art to

common people and specially Java's tribe is after the end of century or early

century of XIX. The last product of batik was batik drawn (batik tulis) until the

XX century, the stamp's batik (batik cap) has begun familiar after the first word

war or about a year 1920. Nowadays, batik have become part traditional

Indonesian textile.

Rapidly growing batik manufacturer, because the price they offer much

cheaper. Attitude of the people who are less concerned about the sustainability of

growing batik also write to encourage batik manufacturers dominate the market.

There should be no feelings of pride if we use handmade batik batik because it is

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3.2 The Role in Tourism Sector

Tourism in Indonesia is being developed through two main programs,

covering tourism and tourism products. There are five supporting programs,

namely' control of environmental pollution, education, training and tourism

guidance; tourism research and development; tourism infrastructure development;

and the supervision and development of arts and culture.The target for tourism set

in REPELITA VI is 6.5 million foreign tourists with US$9 billion in foreign

exchange. Meanwhile 84.2 million domestic tourists are expected to spend nine

(9) trillion rupiahs. Through various activities, tourism is expected to generate

900.000 new job opportunities.

Tourist objects and tourist attractions are being introduced to the

Indonesian people to promote domestic tourism. Group tourist awareness

(Pokdarwis) has been established as moving spirit for tourist development such as

the improvement of tourist attractions to socialize the Seven Charms Program

(Sapta Pesona) consisting of safety, cleanliness, orderliness, comfort, beauty,

hospitality, and enchanting memories. Until 1997/98, there were 921 Pokdarwis

throughout Indonesia, or an increase of 71.5% since 1993/94. To encourage

domestic tourism, in 1997/98 the Government started to develop tours for senior

citizens.

The Tourist Awareness Campaign every year adopted different themes in

accordance with the national development rhythm and dynamics. In 1997, the

theme was The Year of Cooperatives and Telecommunication and in 1998 the

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held throughout Indonesia. In 1997/98 the events included Toba Lake Festival in

North Sumatra; The Indonesian Archipelago Palace Festival in West Java;

Borobudur Festival in Central Java; Bromo Festival in East Java; The Balibo Art

Festival in East Timor; The Bidar Kapuas Festival in West Kalimantan; Sea Park

Festival in Maluku; and the Lembah Baliem Arts and Culture Festival in Irian

Jaya.

Despite the current economic crisis which has hit Indonesia since July

1997, the number of domestic tourists increased steadily. In fiscal year 1997/98

the number of domestic tourists was 120 million persons who spent 14 trillion

rupiahs. Most of the planning literature dealing with tourism focuses on what

should be done in developing this industry at the expense of providing an

understanding of what is actually being pursued and what can be done given a

destinations local conditions.

The concept of Tourism, Art and Culture is based on the concept of the

Indonesian life, which is balance between human beings and the One and Only

God. So far, the variety of totirism products are based on natural and cultural

resources. Presently tourism product is based on science and art without

neglecting the balance between human being touch and high technology.

In the framework of supporting national development of tourism, art and

culture, up to now 35 societies of care for tourism, art and culture in 25 provinces

have been founded. This society acts as a medium of nourishment, development

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The art of decorating cloth in the batik technique is a form of painting, for

the molten wax is applied on the cloth with a canting, a pen-like instrument,

though the colors are provided by dyeing. Early Javanese literature even refers to

batikers as painters. The people of Central Sulawesi painted intricate symbolic

motifs in bright colors on bark-cloth vestments by using vegetable dyes and

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4. CONCLUSIONS AND SUGGESTIONS

4.1 Conclusions.

Indonesia has many different cultures in their society. And one of

the cultures is batik. The history of Batik was related to Majapahit Kingdom and

after. Batik has develoved in the empire of Mataram, and the kingdom of Solo and

Yogyakarta.

Soon and later, in development of batik was imitated by closest people

and spread out to be worked by of woman in it's household to fill spare time.

Hereinafter, batik which is the beginning to be the families king clothes, later

become the clothes for common people, women and men to wear. And now batik

has become a symbol of culture in Indonesia.

And Today Batik is also a symbol of Indonesian culture in whole the

world internationaly, which have so many advantages in every sector,like in

trading sector and tourism sector. In every country, it is almost known that batik is

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4.2 Suggestions.

Having learned and known about batik, we must realize that this must

be expanded in every sector. In trading sector, it has made some people

rich.therefore selling and making batik should be improved so that batik can be

expanded to make money.

In tourism sector, it has be made as a souvenir or handy craft for the

tourist who come to Indonesia. And the tourist will be attracted to come back to

Indonesia to get a new and different batik to wear. We can say that producing

batik in indonesian tourism sector, will be better in the future.Because batik can

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PREFERENCES

Asikin, saroni. (2008) Motif Batik Semarang,, Citra Prima Nusantara Semarang.

Elliott, Inger McCabe. (1984) Batik : fabled cloth of Java photographs, Brian Brake ; contributions, Paramita Abdurachman, Susan Blum, Iwan Tirta ;

design, Kiyoshi Kanai. New York : Clarkson N. Potter Inc.

Endik, S. (1986) “Seni Membatik”, P.T. Safir Alam.

Fraser-Lu, Sylvia.(1986) Indonesian batik : processes, patterns, and places Singapore : Oxford University Press.

Http://www. batik.com.

Soesanto, Sewan (1961) Buku Penuntun Batik , Insitut Teknologi dan Pendidikan Departemen Perindustrian Rakyat .

Soumantri, Bambang (2005) Corak Batik ‘motif aneka bentuk’, yogyakarta : Gramedia.

Suhersno, Hery (2005) Desain Bordir- Motif Batik , Yogyakarta : Gramedia.

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