Indonesian has been very attached with textile in their daily life for along time, perhaps this is the reason why The Nusantara has a wide range of textile, from materials, techniques, and products.
Batik occupies a special place in Indonesian culture. Each fabric has a rich story to tell--as a reflection of the nation's religious beliefs, sophisticated court cultures and cosmopolitan history. The extraordinary textiles in this book are from the collections of Rudolf Smend and Donald Harper. Most date from the period 1880 to 1930 when the art of batik reached its apogee. Having collected historical batik for over thirty years and published two books on the subject, Rudolf Smend has invited his friend and fellow batik specialist Donald Harper to contribute his fine collection to this publication as well. None of the batik in this book have been published before. They represent an exquisite cross-section of the batik production of Java--the most important batik-producing region in the world. The cloths are complemented by vintage photographs from the first quarter of the 20th century demonstrating how the batik were worn at court and at home. Three are from museums in Dresden and Cologne, while three are from the private collection of Leo Haks. The others have been collected over the past 30 years from private sources in Java. The captions are by Maria Wronska-Friend, an ethnologist and batik expert who frequently visits Indonesian batik centers and has worked for many years as an anthropologist in Papua New Guinea. Her contributions provide fundamental knowledge for lovers of this art form while at the same time providing new insights for experts. Rudolf Smend has invited other batik aficionados of his generation to share their passion for batik in this book. Inger McCabe Elliott, author of the bestselling Batik: Fabled Cloth of Java has contributed her lifelong experience. Other authorities like Annegret Haake, Brigitte Khan Majlis and Jonathan Hope share their views and expertise in these pages. This book represents a labor of love and a lifetime of friendship for the two authors, who hope it will provide inspiration to a whole new generation of batik lovers.
A vast archipelago noted for its varies, intricate and labour-intensive textile traditions. Contents: 1. Introduction 2. The Batik process 3. Traditional Batik clothing 4. Batik designs 5. Centres of Batik production 6. Condlusion.
From about 1840 onwards, batiks found their way from what was called the Netherlands East Indies, then under Dutch colonial rule, to the Netherlands, where they were kept in private and public collections. Owing to Holland's great interest in Batik, Amsterdam's Tropenmuseum now owns a collection of over 3000 pieces. Many represent the major batik centres that emerged on Java, Madura and Sumatra. Batiks tell the stories of their maker, their wearers and eventual collectors. By studying the history of individual pieces from their creation to their arrival in the Tropenmuseum, we can relate them to their shared history. Batik became a product of intercultural contact in a society where different ethnic groups lived next to or with each other. This book focuses on this communication, on batiks as visual witnesses of cultural encounter within the East but also between the East and the West. This book will appeal to anyone interested in Indonesian arts and textiles. It is a rich source of study for scholars interested in the art of batik and the society in which it developed to its high level of perfection.
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.
This book constitutes the thoroughly internationally - refereed proceedings of the 2nd Vocational Educational International Conference: Revitalization of Vocational Education in Indonesia, 2020, held in Semarang, Indonesia, in August 27, 2020. The papers presented were carefully reviewed and selected from all submissions. The papers reflect the conference sessions as follows: Innovation In Building and Developing Vocational Education, Innovation In Preparing and Developing Educators In Vocational Education, Innovation In Preparing and Developing Skilled Workers, and Developing Students Competencies Using E-learning.
This book presents new ways of understanding heritage and heritage work. It addresses the ways physical processes of creation, maintenance and decay are entangled with cultural and political processes of management, access and care. The book analyzes a critical practice of heritage work oriented to recognizing and collaborating with diverse knowledge holders and their practices of caring for heritage. This requires rethinking accepted heritage concepts, such as heritage management, artifact, site and the definition of heritage itself. The book presents an engaging and applied approach to this task through examples that include Majapahit statues and temples in Indonesia, skating in London, an online heritage movement, building bivouacs in Australia, First Nations advocacy for Country and batik collections in the Netherlands. Offering a new model for collaborative heritage research and analysis, this book will be of interest to researchers, students and practitioners. Drawing from developments from the posthumanities, cultural geography and critical heritage studies, it presents a collaborative mode of scholarship and writing that considers how people care for and use the things history leaves them.
