Abstract
Batik Tulis is one of the world's worth preserving intangible heritage objects from Indonesia. Preservation of the batik industry also includes the conservation of the manufacturing process. Oey Soe Tjoen Peranakan Batik is one of the batik workshops that still maintains the traditional batik tulis process for almost a hundred years. This batik workshop located in the Kedungwuni area, Central Java, is now managed by Widianti Widjaja as the third generation. The intergenerational period causes differences in behavior in everyday life, including the process of making batik tulis. In the second and third generations, postural limitations founded, which also affected the equipment used in the process of making batik. The inconvenience factor in the process of making traditional batik tulis is one of the reasons that trigger changes in the equipment used. The purpose of this study is to examine changes in equipment used in the process of making traditional batik tulis in the Oey Soe Tjoen workshop. Through in-depth interviews, observations, and documentation in a certain period, it can be concluded that the influence of habits and comfort factors at work increased the work platform on some equipment used in making traditional batik tulis, especially at this workshop. Keywords: Batik tulis, batik tools, behavior, postural, working platform DOI: 10.7176/ADS/80-01 Publication date: January 31st 2020
Highlights
Batik is a collective work of art that involves many skilled workers who use dye technic and barriers to fabric using hot wax (Kudiya, 2019)
The characteristic of batik pesisir is famous for its cheerful colors typical of Chinese people and more flexible to combine European and Chinese decorative styles (Komunitas Lintas Budaya Indonesia dan Intisari, 2018)
One of the batiks that are famous for foreign countries, especially among Chinese Peranakan women in Singapore and Malaysia, is Oey Soe Tjoen Peranakan batik
Summary
Batik is a collective work of art that involves many skilled workers who use dye technic and barriers to fabric using hot wax (Kudiya, 2019). Oey Soe Tjoen Batik is one of the batik pesisir originating from the Kedungwuni sub-district, 10 km south of Pekalongan city, Central Java. Batik Oey Soe Tjoen is famous for floral bouquets pattern inspired by Dutch, intricate details, and coloring techniques that produce three-dimensional effects, typical of Kedungwuni Peranakans batik. Widianti Widjaja, as the third generation of the Oey Soe Tjoen batik, still maintains hereditary the tradition of making batik tulis. This batik business threatened will be stopped in the ten years because of the time-consuming process, with a high level of accuracy and decreasing human resources
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