The word ’batik’ is possibly of Malay origin from the word ’tik’ meaning ’to drip’ or ’to drop.’ The term is applied to a resist dye technique invented independently in locations as diverse as Ancient Egypt, Japan and Turkestan. Batik is a remarkably flexible textile technique and is suited to small-scale methods of production, but demand from the fashion and tourism industries is increasing. This volume brings together the experiences and concerns of the international community of batik producers. It gives voice to their suggestions for ensuring that the producers of this traditional craft are integrated into its increasingly global production rather than excluded from it. Building on the work of batik designers and producers the book discusses the emergence of a global craft consciousness. Batik producers report on innovative measures taken both individually and collectively to hold their market position while commercial producers frequently annex and mass-produce traditional batik design. The book concludes with a discussion of marketing and production innovations and tourism which enable the producers of batik to maintain the integrity of their designs whilst harnessing the benefits of new commercial forms.
'The contributors address some essential topics…This interesting, scholarly book addresses both specialists on batik and interested readers.' IRCICA Newsletter
Contents: Crafts, Culture and Technological Change: Quo vadis batik?, Iwan Tirta; Aspects of intellectual property and textiles, Bill Morrow; Innovation, change and tradition in the batik industry, Teruo Sekimoto. Traditional Batik: Cultural values and traditional batik patterns, Oetari K.W. Siswomihardjo; Function and meaning of batik-lurik - a reconstruction, Renske Heringa; The philosophy and meaning of classic batik patterns of Central Java, S. Hertini Adiwoso; Textiles in ancient Bali, I. Wayan Ardika; The classical batiks of Jambi, Fiona G. Kerlogue; The development of motifs in Indonesian batik fashion trends from 1850 onwards, Ardiyanto Pranata; The Garunda motif and cultural identity, Woro Aryandini S. Comparative Batik: Parang Rusak design in European art, Maria Wronska-Friend; Javanese and Indonesian batik in Germany, Irene Romeo; Reflections on Moscow batik, Joachim Blank; Batik as both art and craft, Rita Trefois; Malay (Perak) embroidery in contemporary batik, Nazlina Shaari; The art of batik in Sri Lanka, Siva Obeyesekere; Persistence of traditional dress in Mesoamerica, Carol Hayman; Batik effect on pure woven wool, Dougal Pleasance; Batik on paper bi- and tridimensional structures, Alicia Farkas; Independent European batik technique on Easter eggs, Annegret Haake and Hani Winotosastro. Batik Conservation: Textile exhibition issues in Indonesian museums, Puspitasari Wibisono; Batik conservation in the Rotterdam museum of ethnology, Linda Hansen; The batik collection at the Tropenmuseum, Itie van Hout. Virtual and Souvenir Batiks: Extraterrestrial inspiration - a remarkable batik from the textile museum collection, Mattiebelle Gittinger; The challenge for batik in the year 2020: art, commodity and technology, Amri Yahya; Lifestyles in the borderless world: marketing Sarawak textiles as cultural identity products, Mohammad Zulkifli; Batik route: batik and tourism, Fred W. van Oss; The threads that tie textiles to tourism, Kaye Crippen; Modern influ