Indramayu design

Wednesday, November 25, 2009

The neighbouring area of Indramayu is a fishing community and was an important harbour on the north coast of Java often called at by foreign ships as well as vessels plying between the islands of the Indonesian archipelago.

Batiking was done by by the wives of fishermen from the villages around Indramayu. They batiked when their husbands were away at sea, in order to supplement their incomes.

For this reason they did not wish to make batik that would take too much time to complete. They used a large canting on plain cloth, and had hardly any filling on their batiks.

To fill the empty space, they made cocohan (tiny dots) with an ustensil called the complongan shaped like a comb with fine needles used to penetrate the cloth already covered with wax. After deying, the dots take on the color of the dye. In its simplicity Dermayon batik has its own special attraction.

Motifs of batik made in fishing villages are greatly influenced by the flora and the fauna of the surrounding are, for example Jarot Asem (Javanese Tamarind), Dara Kipu or by the sea such as Gaggeng and Urang Ayu. These are all motifs of the coarse and cheaper batik made for common people.

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Pekalongan design

Most of these batiks were sarongs, perhaps because Dutch settlers found them easier to to wear. In this group of batiks we find the buketan motifs, depicting flowers and fruits thet grew in Holland, like chrysanthemums and grapes, and flowers arrangements in European style.

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Solo, the second sultanat.

Solo ( now named Surakarta) was one of the two sultanates, with all the traditions and customs of their courts, and the center of Hindu-Javanese culture.

The Kraton (or court) was not only the residence of the kings, but also the center of government, religion and culture.this was reflected in the art of the region, especially in its batiks: in the motifs as well as in the colors, and its special rules governing the wearing of batik. In solo there were special rules about wearing batik. These had to do with- the social position of the wearer

- the occasion on which the batik was worn or used, in connection with the meaning and hope or wish symbolized by the motif.

cloth on the left is a detail of a kain panjang which was made in the workshop of Hardjonagoro in Surakarta in the early 80's. The motif combine influences of several region, but the overall style and the color are typical of Solo design

The 'kain panjang' means 'long cloth'. It is a piece of cloth of approximately one by two and a half metre. It is used as the sarong, but the kain panjang is regarded as being more formal.The motifs of the Solo design are related to the Hindu-Javanese culture: the Sawat symbol of the crown or highest power, the Meru symbol of mountain or earth, the Naga symbol of the water, the Burung symbol of the wind or upper world and the Lidah Api symbol of the fire.In Solo there were special rules about wearing of batik. 1) the social position of the wearer, 2) the occasion on which the batik was worn or used. This was in connection with the meaning and hope or wish symbolized by the motif.

Some of the traditional motifs worn on certain occasions:

When making a proposal of marriage, the wali (male relative of the girl), wears a batik with the Satria Manah motif, denoting that when a satria or knight, took aim with his bow and arrow, the arrow would be sure to hit the target, meaning, of course that the proposal will be accepted. the family of the girl receiving the proposal wears batik with Semen Rante motif.

Rante, meaning chain symbolizes a close and binding relationship in conformity with the belief of Asians that breaking-off a relationship would damage the good name of the woman.

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Yogyakarta Designs At the heart of the Indonesian Batik

Tuesday, November 24, 2009

Yogyakarta the capital city of the most powerful and respected Kingdom of Java, is also at the heart of the Batik art. All the old Traditions and customs are observed, as well as in Solo, and one can still find many symbols that are related to Hindu-Javanese culture.

The combination of motifs in Yogya batik is unique, and there is a tendency to combine a number of large geometric motifs.

The Grompol motif is a distinctively Yogya design customarily used for wedding ceremonies. Grompol, which means "gather together" symbolizes the coming together of all goods things, such as luck, happiness, children, and harmonious married life.

The Nitik motif is found in great numbers in this area. During a colonial annual fair (Jaarbeurs) during the Dutch period, a batik producer gave the name Nitik Jaarbeurs to a motif which received an award.

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Indonesian Art of Textile

Although the process of decorating cloth through the process of batik is found in several regions in Africa or India and even in some South East Asian countries, the batik of Indonesia is unique and unequaled. Indonesian Batik is made in several regions, but the center of the art is Central Java, in cities like Yogyakarta, Solo, Cirebon, Pekalongan and Indramayu.

The pride of Indonesians to wear batik till the present day has preserve this art of textile.

The beauty of Batik is a tribute to the patience, creativity of the woman of Java, the main island of Indonesia. Credit should be also given to men who prepare the cloth and handle the dyeing and finishing process.

Batik is generally thought of as the most quintessentially Indonesian textile. Motifs of flowers, twinning plants, leaves buds, flowers, birds, butterflies, fish, insects and geometric forms are rich in symbolic association and variety; there are about three thousand recorded batik patterns.

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Batik Indonesia Official Recognized by UNESCO

Jakarta (ANTARA News) - Indonesia Batik officially recognized by UNESCO incorporated into the Representative List of Cultural Heritage objects No Man (Representative List of the Intangible Cultural Heritage of Humanity) in the 4th Session of the Intergovernmental Committee (Fourth Session of the Intergovernmental Committee) of the Heritage of non-object in Abu Dhabi.

In a press release from the Ministry of Culture and Tourism (Depbudpar) received by AFP in Jakarta, Friday, UNESCO recognizes Indonesian batik along with the cultural eyes of 111 nominations from 35 countries, and are recognized and included in the Representative List of the culture as much as 76 eyes.

Earlier in the year 2003 and 2005 UNESCO has been recognized as a Puppet and Keris Masterpieces of the Oral Culture and Heritage Takbenda Man (Masterpieces of the Oral and Intangible Cultural Heritage of Humanity), which in 2008 incorporated into the Representative List.

Depbudpar stated in the entry of Indonesian Batik UNESCO Representative List of Intangible Cultural Heritage of Humanity is an international recognition of one's eyes Indonesian culture, which is expected to motivate and raise the dignity of batik artisans and supporting efforts to improve people's welfare.

Depbudpar stated effort to make Batik Indonesia UNESCO recognized it involves relevant stakeholders in batik, both governments, and the craftsmen, scholars, business associations and foundations / institutions and society at large batik in the preparation of nomination documents.

RI Representatives Jury Team member countries (the Subsidiary Body), namely the United Arab Emirates, Turkey, Estonia, Mexico, Kenya and South Korea and the UNESCO-Paris, plays an important role in introducing a wider batik to the members of the Subsidiary Body, so that they more thoroughly studied Indonesian Batik nomination documents.

UNESCO noted Batik Indonesia and one other proposal from Spain is the best nomination document and can be used as examples in the nomination process was eye-object culture in the future.

Depbudpar Indonesian government declared these efforts is a commitment as a state party UNESCO Convention for the Protection of Cultural Heritage Takbenda, who has been in effect since 2003 and ratified by 114 countries (Indonesia ratified in 2007).

Convention referred to emphasize the protection of cultural heritage takbenda, among others, the tradition of spoken and expression, rituals and festivals, crafts, music, dance, traditional art performances, and culinary. Legacy is still alive and handed down from generation to generation, giving a sense of community and group identity and continuity, and is considered as an effort to respect cultural diversity and human creativity.

UNESCO recognizes that the batik technique and Indonesia has a cultural symbol of the identity of the people of Indonesia from birth to death, carried the baby with patterned batik cloth with symbols of luck, and who died covered with batik cloth.

Apparel with the daily pattern is used routinely in the business and academic activities, while others used various shades of the wedding, pregnancy, also in the puppet, nonsandang needs and various artistic performances. Batik cloth and even played a major role in certain rituals.

Various shades of Batik Indonesia indicates the existence of various external influences from Arabic calligraphy, a phoenix from China, the Japanese cherry flowers to peacocks from India or Persia.

Batik tradition handed down from generation to generation, batik associated with people's cultural identity through a variety of Indonesia and the symbolic meanings of colors and patterns to express creativity and spiritual people of Indonesia.

Batik Indonesia UNESCO entered into a Representative List because it has met the criteria, among others, rich with symbolism and philosophy of life of the people of Indonesia; to contribute to the preservation of cultural heritage during this takbenda and in the future.

Furthermore the entire community with the government taking steps on an ongoing basis for protection, including increased awareness and capacity development, including education and training activities.

In preparing the nomination, the parties have made a variety of activities, including research in the field, studies, seminars, and so on to discuss the contents of the document and to enrich the information freely and openly.

The Government has entered into Indonesia Batik Inventory List Cultural eyes Indonesia.

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Batik Collections of President Obama’s Mother, Ann Dunham

A Lady Found a Culture in its Cloth: Barack Obama’s Mother and Indonesian Batiks,

featuring batik patterned textiles from the collection of Ann Dunham, President Obama’s mother,

from August 9-23, 2009. This marks the final stop in a national tour of the exhibition. Washingtonians and visitors to the nation’s capital will not want to miss this unique look at the Obama family and the Southeast Asian culture from which these fabrics originated! The Textile Museum is presenting the exhibition in coordination with the Embassy of the Indonesia and co-hosting a gala event with the embassy at the Mandarin Oriental Hotel on Saturday, August 8. The exhibition is made

possible with the support by President Obama’s sister, Maya Soetoro-Ng, and her family.

About the Exhibition

Ann Dunham loved and collected many handcrafted objects, including textiles. As a teenager, she wove wall hangings in earthy shades of brown and green

for her own enjoyment. After marrying Lolo Soetoro and moving to Indonesia in the 1960s with her son Barack Obama, she was naturally drawn to the vibrant textile arts of her new home. She began to amass a collection of Javanese batiks — fabrics patterned by using a wax-resist process — from which this exhibition is drawn. These textiles were readily seen on city and village streets in this Southeast Asian nation at that time. Her interests in batik patterned cloth were complex. She did not acquire rare or expensive pieces, but rather contemporary examples that were an expression of a living tradition, patterned with both classic designs and those of passing fashion. The lives of the batik makers also fascinated

her. While earning degrees in anthropology from the University of Hawaii in the 1970s and 1980s, she focused on how to help craftspeople, like those creating batik in Indonesia. She

worked with the Ford Foundation in Jakarta and later with USAID and the World Bank, guiding projects beneficial to poor women through micro and small enterprises. She eventually set up microcredit projects all over Indonesia as well as in Pakistan and Kenya. The wide variation in the batiks on view in this exhibition reflects the range of colors and

patterns that captured her imagination and provides a window into Indonesian culture.

About the August 8 Gala

A gala event at the Mandarin Oriental Hotel on Saturday, August 8 will celebrate Dunham’s collection as well as Indonesian culture, and offer invited guests a special preview of the

exhibition at The Textile Museum. The gala will be hosted by H.E. Sudjadnan Parnohadiningrat the Indonesian Ambassador to the U.S. and Muhammad Lutfi, Chairman of the Investment Coordinating Board of Indonesia, and attended by Maya Soetoro-Ng, President Obama’s sister. During the reception preceding the gala dinner, selected pieces from Dunham’s collection will be on view, as well as batiks owned by Ani Yudhoyon, the First Lady of Indonesia, and other Indonesian handwoven textiles provided by Cita Tenun Indonesia (Indonesian Handwoven Textile Association). The dinner program will feature a fashion show by two top young Indonesian designers, Priyo Octaviano and Sebastian Gunawan, who will feature their latest haute couture collections made from handwoven materials influenced by traditional Indonesian textiles. Entertainment will include performances of traditional Indonesian dance and an exotic angklung orchestra. The gala is made possible in part by The Textile Museum, the U.S.-Indonesia Society

(USINDO), the U.S. Chamber of Commerce, the USASEAN Business Council and the Asia Society, as well as the Embassy of Indonesia.

About The Textile Museum

Established in 1925 by George Hewitt Myers, The Textile Museum is an international center for the exhibition, study, collection and preservation of the textile arts. The Museum explores the role that textiles play in the daily and ceremonial life of individuals the world over. Special attention is given to textiles of the Near East, Asia, Africa and the indigenous cultures of the Americas. The Museum also presents exhibitions of historical and contemporary quilts, and fiber art. With a collection of more than 18,000 textiles and rugs, The Textile Museum is a unique and valuable resource for people locally, nationally and internationally. The Textile Museum is located at 2320 ‘S’ Street, NW in Washington, D.C. The Museum is open Tuesday through Saturday 10 am to 5 pm and Sunday 1 pm to 5 pm. Admission is free with a suggested donation of $5 for non-members. For more information, call (202) 667-0441 or visit www.textilemuseum.org.

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