The famous Dancing Peacock batik motif - JP/ PJ Leo
Dian Kuswandini, The Jakarta Post, Jakarta
| Wed, 05/26/2010 8:00 AM | Feature
“I can still remember running through colorful batik cloths that were drying on the line in my backyard. I remember Mang Erus hands were stained red from dipping fabrics into dyes the whole day.”
Cultural observer Wieke Dwiharti recalled that story of her childhood in Ciamis, West Java, when batik was still part of the residents’ everyday life. From around 1965 to the 1970s, people lived so close to batik that they would either be seen wearing it, or spending their days making it.
“But as I grew up, I began to lose that scene — less and less people made batik,” says Wieke, whose father was a batik craftsman in Imbanegara village. “I would still see the batik stamps and all the other [batik making] equipment, but no one used them anymore.”
It was in the 1980s that the Ciamis batik — part of the great Priangan (Sundanese-style) batik tradition — disappeared entirely, leaving a black mark on Indonesia’s batik history. The economic crisis of the late 1970s, Wieke said, was behind the misfortune, driving many batik makers to bankruptcy. Many batik artisans, she went on, also couldn’t resist the cost-effective temptation of shifting to the “printed batik” business, where modern machines replaced batik makers.
“They shifted their business hoping they would get more money as the printed batik cloths are far cheaper than the hand-made ones,” said Wieke of the Indonesian Forum for Anthropology Studies (FKAI). “But it turned out they weren’t ready with capable human sources [to run such modern machines].”
| Wed, 05/26/2010 8:00 AM | Feature
“I can still remember running through colorful batik cloths that were drying on the line in my backyard. I remember Mang Erus hands were stained red from dipping fabrics into dyes the whole day.”
Cultural observer Wieke Dwiharti recalled that story of her childhood in Ciamis, West Java, when batik was still part of the residents’ everyday life. From around 1965 to the 1970s, people lived so close to batik that they would either be seen wearing it, or spending their days making it.
“But as I grew up, I began to lose that scene — less and less people made batik,” says Wieke, whose father was a batik craftsman in Imbanegara village. “I would still see the batik stamps and all the other [batik making] equipment, but no one used them anymore.”
It was in the 1980s that the Ciamis batik — part of the great Priangan (Sundanese-style) batik tradition — disappeared entirely, leaving a black mark on Indonesia’s batik history. The economic crisis of the late 1970s, Wieke said, was behind the misfortune, driving many batik makers to bankruptcy. Many batik artisans, she went on, also couldn’t resist the cost-effective temptation of shifting to the “printed batik” business, where modern machines replaced batik makers.
“They shifted their business hoping they would get more money as the printed batik cloths are far cheaper than the hand-made ones,” said Wieke of the Indonesian Forum for Anthropology Studies (FKAI). “But it turned out they weren’t ready with capable human sources [to run such modern machines].”
While they already borrowed a significant amount of money from the bank, they couldn’t meet the expected production targets, and with the demand beginning to slow down, the batik business in Ciamis finally collapsed.
“Since then, it has been very difficult to regenerate the batik industry,” Wieke said. “Young people there grabbed more promising offers to work outside our village. If there were better opportunities, then why would they pursue batik making, which requires a lot of effort?”
For 20 years, Ciamis batik was stricken from history. Luckily, three years ago, the lost heritage was eventually revived, with four batik makers trying to bring the industry back to its former glory and promoting it to the wider public.
“[The four batik makers] were intrigued with the fact the batik tradition in neighboring areas like Garut and Tasikmalaya had managed to survive, so they were motivated to revive Ciamis batik,” said lecturer and researcher Herman Jusuf of the West Java Batik Foundation (YBJB).
“They were first spotted after entering a batik design competition held by YBJB and the industry ministry. One of them won the event with a new motif called Ciung Wanara — named after [and inspired by] a local folktale,” he added.
Although these batik makers still incorporate the batik cap method, which uses metal stamps, instead of drawing the patterns directly on the fabric, they’re a big relief to the batik community. Now, YBJB, along with NGOs such as FKAI and the local government, is putting more effort into preserving the batik tradition in three regencies in the Priangan region — Ciamis, Garut and Tasikmalaya.
“Our concern is the Priangan batik has long been forgotten among other batik traditions in West Java,” Wieke said, adding there are only 10 batik artisans in Garut and 23 in Tasikmalaya. “When it comes to West Javanese batik, most people only know about those from Cirebon and Indramayu, not the Priangan areas.”
As part of efforts to bring Priangan batik back into the limelight, FKAI and YBJB recently documented the Ciamis, Garut and Tasikmalaya batik styles and stories in a book compiled by Herman and his colleagues Didit Pradito and S. Ken Atik. The book, The Dancing Peacock: Colors and Motifs of Priangan Batik, was released last week in conjunction with an exhibition at Bentara Budaya Jakarta, where around 100 Priangan batik cloths were showcased.
The book — and the exhibition — were named after the famous Priangan batik motif, Merak Ngibing
(the Dancing Peacock), which shows two beautiful peacocks standing face to face, spreading their colorful tail feathers — as if they’re dancing.
As the philosophy goes, the Dancing Peacock motif reflects the character of the Priangan people, mostly known as the Sundanese, who are cheerful, extroverted and flamboyant.
The Dancing Peacock, however, is only one of many other Priangan batik motifs. As the Priangan are traditionally tied to the land with strong agricultural roots, Herman said, motifs of plants and animals have long been incorporated on their batik cloths.
“The Priangan batik motifs are very expressive and vibrant. Motifs like butterflies, birds and chickens are among the popular ones,” said Herman. “And because the motifs were created by common people, not by royal members like the Yogyakarta batik for example, the Priangan batik doesn’t really symbolize something particular. Any motif can be used by anyone,” he added.
Considering the power of attractive motifs and designs on a piece of batik cloth, YBJB has been also working on developing the aesthetic aspect of Priangan batik.
This, according to YBJB chairwoman Sendy Jusuf, has been done with the help of professionals from various fields.
“Now, we’re connecting batik makers with fashion designers, academicians, batik lovers and collectors so the designs of Priangan batik will keep developing,” said Sendy, adding her foundation also provides batik makers with training, capital and access to a wider market.
Not only that, she went on, the West Java government has asked its people to wear batik clothes twice a week — on Thursday and Friday — to raise their awareness on the precious traditional textile.
“We always call on people to not only see batik just like it is, but to also look beyond it and reflect on the social relations embedded in it. [We want them to reflect on] how each batik piece is the result of many people collaborating, from those who made the fabrics, dyes, metal stamps and canting [a tool to draw batik patterns in wax] to those who designed and produced it,” said Sendy, wife of actor-turned-West Java deputy governor Dede Yusuf.
At the end of it all, she went on, “we hope our people will not only wear [batik], but also be proud of it. If they’re proud of it, they will appreciate it, and this will really motivate batik makers to continue what they’re doing.”
And this, more than anything, will preserve our proud batik tradition.
http://www.thejakartapost.com/news/2010/05/26/%E2%80%98the-dancing-peacock%E2%80%99-reviving-a-forgotten-beauty.html
“Since then, it has been very difficult to regenerate the batik industry,” Wieke said. “Young people there grabbed more promising offers to work outside our village. If there were better opportunities, then why would they pursue batik making, which requires a lot of effort?”
For 20 years, Ciamis batik was stricken from history. Luckily, three years ago, the lost heritage was eventually revived, with four batik makers trying to bring the industry back to its former glory and promoting it to the wider public.
“[The four batik makers] were intrigued with the fact the batik tradition in neighboring areas like Garut and Tasikmalaya had managed to survive, so they were motivated to revive Ciamis batik,” said lecturer and researcher Herman Jusuf of the West Java Batik Foundation (YBJB).
“They were first spotted after entering a batik design competition held by YBJB and the industry ministry. One of them won the event with a new motif called Ciung Wanara — named after [and inspired by] a local folktale,” he added.
Although these batik makers still incorporate the batik cap method, which uses metal stamps, instead of drawing the patterns directly on the fabric, they’re a big relief to the batik community. Now, YBJB, along with NGOs such as FKAI and the local government, is putting more effort into preserving the batik tradition in three regencies in the Priangan region — Ciamis, Garut and Tasikmalaya.
“Our concern is the Priangan batik has long been forgotten among other batik traditions in West Java,” Wieke said, adding there are only 10 batik artisans in Garut and 23 in Tasikmalaya. “When it comes to West Javanese batik, most people only know about those from Cirebon and Indramayu, not the Priangan areas.”
As part of efforts to bring Priangan batik back into the limelight, FKAI and YBJB recently documented the Ciamis, Garut and Tasikmalaya batik styles and stories in a book compiled by Herman and his colleagues Didit Pradito and S. Ken Atik. The book, The Dancing Peacock: Colors and Motifs of Priangan Batik, was released last week in conjunction with an exhibition at Bentara Budaya Jakarta, where around 100 Priangan batik cloths were showcased.
The book — and the exhibition — were named after the famous Priangan batik motif, Merak Ngibing
(the Dancing Peacock), which shows two beautiful peacocks standing face to face, spreading their colorful tail feathers — as if they’re dancing.
As the philosophy goes, the Dancing Peacock motif reflects the character of the Priangan people, mostly known as the Sundanese, who are cheerful, extroverted and flamboyant.
The Dancing Peacock, however, is only one of many other Priangan batik motifs. As the Priangan are traditionally tied to the land with strong agricultural roots, Herman said, motifs of plants and animals have long been incorporated on their batik cloths.
“The Priangan batik motifs are very expressive and vibrant. Motifs like butterflies, birds and chickens are among the popular ones,” said Herman. “And because the motifs were created by common people, not by royal members like the Yogyakarta batik for example, the Priangan batik doesn’t really symbolize something particular. Any motif can be used by anyone,” he added.
Considering the power of attractive motifs and designs on a piece of batik cloth, YBJB has been also working on developing the aesthetic aspect of Priangan batik.
This, according to YBJB chairwoman Sendy Jusuf, has been done with the help of professionals from various fields.
“Now, we’re connecting batik makers with fashion designers, academicians, batik lovers and collectors so the designs of Priangan batik will keep developing,” said Sendy, adding her foundation also provides batik makers with training, capital and access to a wider market.
Not only that, she went on, the West Java government has asked its people to wear batik clothes twice a week — on Thursday and Friday — to raise their awareness on the precious traditional textile.
“We always call on people to not only see batik just like it is, but to also look beyond it and reflect on the social relations embedded in it. [We want them to reflect on] how each batik piece is the result of many people collaborating, from those who made the fabrics, dyes, metal stamps and canting [a tool to draw batik patterns in wax] to those who designed and produced it,” said Sendy, wife of actor-turned-West Java deputy governor Dede Yusuf.
At the end of it all, she went on, “we hope our people will not only wear [batik], but also be proud of it. If they’re proud of it, they will appreciate it, and this will really motivate batik makers to continue what they’re doing.”
And this, more than anything, will preserve our proud batik tradition.
http://www.thejakartapost.com/news/2010/05/26/%E2%80%98the-dancing-peacock%E2%80%99-reviving-a-forgotten-beauty.html
