Indonesian Batik Research Articles

Unraveling Indonesian heritage through pattern recognition using YOLOv5

This research focuses on three iconic Indonesian batik patterns-Kawung, Mega Mendung, and Parang-due to their cultural significance and recognition. Kawung symbolizes harmony, Mega Mendung represents power, and Parang signifies protection and spiritual power. Using the YOLOv5 deep learning model, the study aimed to accurately identify these patterns. Results showed mean average precision (mAP) scores of 77% for Kawung, 80% for Parang, and an impressive 99% for Mega Mendung. The highest precision results were 91% for Kawung, 88% for Parang, and 77% for Mega Mendung. These findings highlight the potential of pattern recognition in preserving cultural heritage. Understanding these designs contributes to the appreciation of Indonesia s culture. The research suggests applications in cultural studies, digital archiving, and the textile industry, ensuring the legacy of these patterns endures.

FRACTAL MOTIF OF ‘GARUDA NGUPUK’ IN LOKATMALA BATIK DESIGN WITH SUNDANESE SCRIPT

In traditional Indonesian batik, intricate designs reflect the nation’s rich heritage. This study explores the use of fractal geometry, specifically the ‘Garuda Ngupuk’ motif, in evolving Lokatmala Batik designs known for their complexity and elegance. Inspired by Sundanese script, this research paper highlights how fractal curves can rejuvenate traditional batik artistry. Using digital design techniques alongside traditional craftsmanship, the study creates intricate Lokatmala Batik patterns that merge Sundanese cultural essence with modern geometric motifs. This fusion of tradition and innovation showcases Lokatmala Batik as a testament to the enduring beauty and adaptability of this Indonesian cultural heritage on a global stage.

Eksplorasi Minat Warga Korea Selatan terhadap Batik Indonesia

Globalization is a world development phenomenon where everything can be achieved instantly and makes things easier for humans in everything, whether in the use of technology or information obtained in gaining knowledge with just one click. However, in the 20th century, the development of this phenomenon became increasingly rapid and global. This is due to advances in technology and the ease with which information can be obtained via the internet which is used by almost all people in the world. Indonesian people take advantage of this phenomenon in distributing and introducing traditional Indonesian culture to foreign countries, especially South Korea. One of the Indonesian cultural products that can be exported is Indonesian batik which has been recognized by UNESCO as a world cultural heritage.This research aims to analyze the impact of globalization on Indonesian batik export opportunities to South Korea. This research uses a qualitative method with a phenomenological approach. The object of research is Indonesian batik which has successfully attracted the attention of the people in South Korea. This data was collected through interviews with local South Korean residents, observations, and literature studies.The research results show that globalization has had a positive impact on batik export opportunities in Indonesia. This can be seen from the increasing consumption of Indonesian products in South Korea and the interest of the South Korean people in learning Indonesian and its culture. Apart from that, through this research, other factors were found that influence the export opportunities of Indonesian batik to South Korea, including the quality of Indonesian batik, Indonesian and South Korean government policies, as well as the promotion of Indonesian batik in South Korea. Therefore, Indonesian business people need to take advantage of this opportunity to increase Indonesian batik exports to South Korea.

Ornamental Patterns of Contemporary Indonesian Batik: Clothing for Strengthening the Articulation of Appearance Characteristics

Batik is a significant aspect of Javanese and Indonesia culture, celebrated for its complex motifs, rich history, and deep cultural values. The research method used is qualitative research based on exploration and explanation supported with Iconographical Analysis and Elegant Design Theory. UNESCO’s recognition of batik as a world culture heritage, has led to a revival in interest and respect for this art form in Indonesia. Historically, batik was reserved for the nobility, but nowadays, it has evolved into national attire with contemporary significance. The focus of this study is to position batik as not only a traditional work of art that has developed into contemporary fashion, but also contains various ethical and aesthetic boundaries as a reflection of the intelligence of clothing culture. Contemporary batik is seen as a medium that can enhance the wearer’s appearance. Several characteristics of a person’s appearance that can be strengthened based on batik ornamental patterns are authoritative, openness, responsible, dynamic, and simplicity. This pattern is actualised in fashion design with a format resembling the letters or punctuation marks of Y, +, \, Z, and I.

A mobile-optimized convolutional neural network approach for real-time batik pattern recognition

This research focuses on preserving and sharing knowledge about Indonesian batik, a blend of art and technology symbolizing the nation's creativity. To address declining awareness of batik types, a mobile application is introduced for real-time recognition and classification of batik motifs. The goal is to maintain appreciation and understanding of this cultural heritage. Using the EfficientNet convolutional neural network (CNN) architecture, the study enhances model accuracy with effective scaling. A dataset of 1350 images representing 15 batik types supports robust model training and evaluation. Results demonstrate successful implementation, yielding an Android app capable of deep learning-based real-time recognition with an 83% accuracy rate. This innovation aims to empower users to identify and appreciate distinct batik types, ensuring cultural preservation for current and future generations.

Ethnobotanical Study on Plants Used As Natural Dye by Handwritten <i>Batik</i> Craftsmen in Cirebon Indonesia

Cirebon Regency is one of the few Indonesian batik craft center which still use natural dyes in hand-written batik making. The natural dyes are generally extracted from plants. The kind of plants used as natural dyes source for batik in Cirebon Regency are not yet known. This ethnobotanical research aimed to describe the kinds of plants and their characteristics, the frequency of citation by respondents, the parts of the organs used, the sources of obtaining plants, the colors produced, usage technique, as well as the role of using natural dyes in batik to support implementation of green economy. The research approach was exploratory descriptive through observation and interview techniques for data collection. The research was carried out at Kebon Gedang Block, Ciwaringin Village, Cirebon Regency, Indonesia in September 2023. Thirty respondents were selected by purposive sampling method and subjected to the interview. The results showed there were 14 plants species from 12 families used as natural dyes. The most frequently used species were Mangifera indica and Indigofera tinctoria. The organ most widely used was the bark which comes from the purchased, and the color generally produced was brown. The most frequently coloring method used was boiling technique. This research is the first study in this area and useful for providing data and strategic potential for developing local plants as environmentally friendly natural dyes, as well as supporting efforts to use natural dyes in the batik industry.

Strategi Pengembangan Batik Alpukat Universitas PGRI Silampari sebagai upaya Peningkatan Penjualan

This research aims to explore the potential for developing Avocado Batik as an effort to diversify local avocado-based batik products. The approach used in this research is a qualitative descriptive approach, which describes the social situation being studied comprehensively, broadly and in depth. The results of the research show that the Avocado Batik MSMEs at PGRI Silampari University show a strong commitment to continuing to improve the quality of their products and services, as well as developing more effective marketing strategies to support their business growth in local and regional markets. In conclusion, this research will provide a clear picture of the potential and strategy for developing Avocado Batik as a new superior product in the Indonesian batik industry. Keywords: Avocado Batik, Increased Sales, Development Strategy

Innovative Applications and Market Impact of Indonesian Batik in Modern Fashion

Batik, a traditional Indonesian textile art, has transcended its local origins to gain a prominent place in the global fashion industry. This thesis explores the modern adaptations of Batik within contemporary fashion, highlighting the innovative applications and the market impact these adaptations have created. By integrating advanced technologies and sustainable practices, Batik has evolved into a versatile fashion element that appeals to a global audience. This study analyzes how these adaptations contribute to the economic vitality of the Indonesian economy, support local artisans, and promote cultural preservation. It also identifies strategies to enhance global recognition and demand for Batik, ensuring its sustainability and relevance in the international market. The thesis underscores the balance between innovation and the maintenance of authenticity, crucial for the cultural and economic prosperity of the Batik industry.

Diversification of Eco-Friendly Batik Craft Products with Export Potential

The Laweyan Surakarta batik industry center has more than 100 developing batik IKMs. The existence of the Laweyan Surakarta batik IKM has contributed greatly to the revival of the batik industry in Surakarta after experiencing a downturn due to the pandemic. However, the presence of batik artisans in the Laweyan area of Surakarta has not been optimally accommodated, coupled with the conditions of the Covid-19 pandemic, leading to an 80% decline in the batik trade. The Indonesian Batik Craftsmen and Entrepreneurs Association (APPBI) is still unable to reach all artisans at the grassroots level. Therefore, batik artisans require guidance to maximize their potential in discovering new innovations related to batik handicraft products. The participatory collaborative approach between craft actors (IKM) and educational institutions is expected to increase the bargaining power of batik artisans. The developed batik craft products are still based on local cultural values and strive to improve product quality by adhering to SNI standards. The participatory collaboration model places artisans as actors and educational institutions as partners. This study aims to develop a diversification model for Laweyan Surakarta batik products through a participatory collaborative approach involving educational institutions and batik craft centers to strengthen export potential. This study employs the development research model from Borg and Gall and Mc Kenny’s development research, which is then modified into 2 steps. The two steps include (1) the preliminary study stage as a need and contents analysis. Keywords: diversification, batik, Laweyan, export potential

Challenges on Water Footprint (WF) Accounting of Batik Production: A Reflection from the Study on Batik SMEs in Jarum Village, Klaten Regency, Indonesia

Indonesian batik has been a cultural product for a hundred years. Its recognition as an intangible heritage has led its production to bring benefits in economic terms. However, there are environmental problems indicated by its production, and one of which is the water use. It is common to find information regarding the pollution caused by batik production. However, studies on water footprint of batik could bring insight that batik problem in relation to water doesn’t limit solely to pollution, but also to the huge volume of water consumed during batik production. In this understanding, the WF approach, both consumptive and degradative water use, is important. Although studies on batik WF have been conducted, it is still limited. This paper discusses the challenges faced in exploring batik WF based on field experience. An understanding of batik itself and batik SME characteristics are required because they are closely related to the WF of the process. Finally, this paper explains the conceptual and technical challenges that will be faced during the study of batik WF.

Exploring Aesthetic Thinking in Miao Batik Pattern Design: A Research Perspective

Miao batik has a long history of development in China, and its batik pattern design is classical. It has been passed down from hand to mouth without written records in Miao, which is enough to prove its charm. However, due to historical reasons and the change of time, Miao batik has not only failed to have the same influence as Malay and Indonesian batik in the world, but also its cultural inheritance has been challenged. Since 1949, the Chinese government has taken a series of protective measures for Miao batik, and its pattern designs have attracted a lot of attention from scholars. This research uses a qualitative research approach based on case studies to investigate the aesthetic thinking of the pattern design of two batik artefacts in Guizhou Provincial Museum, The selected case is the batik patterns in the "Miao pomegranate pattern batik cushion sheet" and "Song Dynasty heron pattern colourful batik pleated skirt" collected in Guizhou Provincial Museum for analysis , displayed both online and offline synchronously, combined with the historical and social background. This will help to achieve understanding and analysis of these two important cultural relics from different aspects, help to improve the public's understanding of the meaning and background of the Miao batik pattern design, and help to carry out the work of preserving and promoting the aesthetic value of Miao batik.

Eco-print Batik: Eco-Friendly Products of Green Business based on Indigenous Knowledge in Bantul

Indonesia has diversity culture, one of them is batik. One of Indonesian batik is eco-print batik in Bantul, Yogyakarta. It is a type of batik that made by using utilizes natural dyes from leaf, root or stem dyes that are placed on a piece of fabric. Eco-print batik is an eco-friendly product and is based on the potential and local knowledge of the local community. Therefore, the objectives of this research are: (1) to explain the existence of eco-print batik in Bantul, Yogyakarta; (2) to explain the process of making eco-print batik in Bantul that eco-friendly products of green business; (3) to identify and strengthen the concept of eco-friendly products of green business based on indigenous knowledge by the case of eco-print batik in Bantul. The research method is qualitative with an ethnographic approach. The data are collected by participatory observation (directly observing the process of making eco-print batik), in-depth interviews, documentation, and document studies on eco-products, especially eco-print batik. The informant of this research are the eco-print batik crafters. Then, the data are analyzed using the Miles and Huberman interactive model analysis. The results of this research, are: (1) eco-print batik is a technique of applying leaves or flowers on a fabric to produce certain (natural) motifs. It was introduced in Indonesia around 2016 and easily accepted by Indonesian textile crafters because Indonesia has strong roots in the tradition of natural dyeing and textile arts (batik process). In 2018, eco-print is increasingly gaining attention and popularity, especially for one of the batik crafters in Bantul with a workshop space, namely Sogga Batik. (2) The process of making eco-print batik uses several techniques, such as pounding, leaf fermentation, and steaming techniques. From the three techniques, Yanti Sogga in Bantul prefers the steaming technique because the resulting color is strong and long lasting. The process is not too long. Moreover, the materials used (input), the process, the product (output), and marketing method in eco-print batik are very eco-friendly because these concern about environmental sustainability. (3) The concept of eco-friendly products of green business based on indigenous knowledge by the case of eco-print batik in Bantul is being the novelty concept, namely the “indigenous eco-friendly product” by strengthening and combining Sommer’s green business components, ILO’s green business elements, and 3R method (go green concept) with indigenous knowledge perspective.

Analisis Strategi Pemasaran dalam Meningkatkan Daya Saing Industri Batik Tulis Giriloyo

Marketing strategy is the way to create a sustainable competitive advantage for companies that produce goods or services. Market competition is the main challenge for entrepreneurs. The Indonesian batik production industry in Wukirsari Village is a real example. This research aims to analyze the competitive marketing strategy of the Giriloyo batik industry globally. The author uses a qualitative descriptive method for this research, using literature review as the data collection technique. Survey results show that the marketing strategy of the global Giriloyo tie-dye industry includes product strategy, pricing strategy, sales promotion strategy, and placement strategy, commonly known as the 4Ps.

Optimization of virtual design and machining time of the mold master ceramic jewelry products with Indonesian batik motifs

Batik has been the cultural heritage of the Indonesian nation since the 17th century. On 2 October 2009, the United Nations Educational, Scientific, and Cultural Organization (UNESCO) designated Batik as part of Indonesia’s traditional clothing as Indonesia’s cultural heritage. This research proves that Batik is an attractive and artistic ornament of ceramic jewelry products. This ornament can increase the selling value and storytelling of the product. Naruna is a local handmade porcelain ceramic factory in Indonesia with excellence in unique colored tableware and consistently trying to develop new designs in ceramic jewelry. Modern technology in computer-based virtual design and machining on dining plate tableware with the Batik Kawung motif is also applied in this paper to obtain a master design for ceramic jewelry prints. The design stage begins with selecting ornament patterns with creative methods to form a 3D CAD model of ceramic jewelry using artistic Art CAM. The optimization of computer-aided manufacturing-based to obtain machining strategy using the software. The software is Autodesk Power Mill, whose NC Code can be directly manufactured on a CNC router machine. This combination can speed up the production process time to meet the production capacity at Naruna and get detailed, accurate, precise, and consistent textures and ornaments, thereby meeting NCS consumer demand for ceramic jewelry products. The simulation results of the two master print patterns are 141 h, 56 min, and 46 s; the machining time is estimated at 153 h. This research saves about 11 h of time processing. The resulting NC Code can be appropriately processed on a CNC router machine with a Mach 3 post-processor.

Development of Lean Implementation Framework for Indonesian Batik Small and Medium-Sized Enterprises

Development of Lean Implementation Framework for Indonesian Batik Small and Medium-Sized Enterprises

Innovation Roadblocks: Micro, Small, and Medium Enterprises in Indonesian Batik Design Collaborations

The handicraft industry in Indonesia is one of the three subsectors that contribute significantly to the country’s GDP. Among other creative industry subsectors, handicrafts (particularly the Batik industry in this case) have the highest labor force multiplier. Despite MSMEs contributing 60% to the national GDP, the productivity of micro enterprises is still much lower than that of small and medium enterprises. This issue of low micro-scale productivity may be attributed to the lack of skills and human resource development, as well as ineffective management of government assistance for MSMEs. The batik craft industry, which has received recognition from UNESCO, is predominantly composed of micro-scale enterprises. Therefore, it is crucial to identify the factors that hinder the development of designs among micro-scale batik MSMEs. The purpose of this study is to identify the factors that hinder collaboration in the development of micro-scale batik MSME designs. The study uses an interview method with snowball sampling techniques, focusing on East Java, the Special Region (Daerah Istimewa, DI) of Yogyakarta, and East Kalimantan Provinces in Indonesia. The results reveal several factors that hinder design innovation in micro-scale batik MSMEs in these regions. The most influential factors are strategic, structural, human resources, market-related, government-related, and community-related issues. Internal factors include limited capital, minimal design knowledge, education, and work experience, while external factors include insufficient government training facilities, a lack of understanding of consumer preferences, and competition with other batik artists due to similarities in motif designs.

Methylene blue removal via photocatalysis by continuous tubular photoreactor with TiO2

The Indonesian batik industry has dominated the global market with an export value in 2022 of around US$ 25.31 million or Rp 392.74 billion. Environmental implications are also substantial, as 10–20% of the total dye products utilized in batik dyeing are typically lost in effluent and discharged into bodies of water. Photocatalysis with TiO2 has been widely studied as a method that can be applied to wastewater treatment because it has high photoreactive properties and chemical stability compared to other materials. A tubular photoreactor system with continuous flow for processing dye waste in the batik industry has been successfully developed. This equipment consists of five reactors arranged in parallel connected by a 1/2-inch pipe and equipped with a circulation pump, flowmeter, feed tank, panel box, and flow valve. This system is used for the photocatalysis process with a TiO2 catalyst dose of 1.5 gr/l with flow rate variation. The results show that the color of the solution changed and the results of measurements using UV-VIS showed that the concentration of methylene blue decreased from 4.871 ppm to 0.081 ppm with the flow rate of 3 L/min. The kinetic constant for this variable is 0.01762/min with R2 = 0.98675.

Gentrification of Trusmi Batik Cirebon

This study aims to photograph the immigration of middle-class residents to urban areas that are in poor condition or have recently been refurbished or modernized. This study uses a qualitative approach to see the phenomenon of Trusmi Village as the heart of batik production in Cirebon. They involve thousands of batik artisans working daily from residents of Trusmi village and its surroundings, such as Gamel, Kaliwulu, Wotgali, and KaliTengah. Shops and showrooms showcase artisans' finest products along 1.5 kilometers of Trusmi Street. Batik showrooms in the form of shops line the village streets in various sizes and shapes. UNESCO recognizes Indonesian Batik as one of the intangible world cultural heritage. Ironically, the wages of batik artisans are meager. Due to labor shortages, about 60 percent of the 360 batik SME industries in Cirebon Regency have gone out of business in the last five years. Old artisan mothers dominate the batik-making centers in Trusmi Village over the age of 4

QRCODE BASED BATIK PRODUCT LABELING INNOVATION AS A STRENGTHENING OF PERSONAL BRANDING AND INCREASING THE MARKETING OF BATIK MSMEs AS COMPETITION PREPAREDNESS IN THE GLOBAL MARKET

This community service activity is important to carry out because there is an urgency to introduce batik products more widely, especially Pekalongan batik which has its own distinctive and unique motifs and philosophies, and has differentiation which will be packaged through batik innovation with Quick Response Code labeling which can be accessed by consumers with a display that contains information about the profile of the SME maker along with the batik motifs complete with meanings and symbols and philosophies. Through this strategy, SMEs can market batik products more exclusively but still maintain the local wisdom and philosophy of Indonesian batik culture. In addition, SMEs are also able to boost the independence of SMEs in readiness for competition in the global market. The activity was carried out with partners, namely the Kauman Batik Kampoeng Association, East Pekalongan District, Pekalongan City. Activity partners have problems in the commercialization of branding and digital marketing. The method is carried out through several stages. Before the service team carries out activities, it begins with observations, adjusting the needs of service activity partners and creating a website for information needs that can be accessed via QRcode-based labels. The service team provides solutions to problems through training and assistance, including regarding the importance of QRCode-based batik labels, preparing UKM profiles for the QRCode database which refers to the website, assistance in using QRCode-based batik labels, as well as assistance and management of brand rights and copyrights.

Eco-print Batik: Eco-Friendly Products of Green Business based on Indigenous Knowledge in Bantul

Indonesia has diversity culture, one of them is batik. One of Indonesian batik is eco-print batik in Bantul, Yogyakarta. It is a type of batik that made by using utilizes natural dyes from leaf, root or stem dyes that are placed on a piece of fabric. Eco-print batik is an eco-friendly product and is based on the potential and local knowledge of the local community. Therefore, the objectives of this research are: (1) to explain the existence of eco-print batik in Bantul, Yogyakarta; (2) to explain the process of making eco-print batik in Bantul that eco-friendly products of green business; (3) to identify and strengthen the concept of eco-friendly products of green business based on indigenous knowledge by the case of eco-print batik in Bantul. The research method is qualitative with an ethnographic approach. The data are collected by participatory observation (directly observing the process of making eco-print batik), in-depth interviews, documentation, and document studies on eco-products, especially eco-print batik. The informant of this research are the eco-print batik crafters. Then, the data are analyzed using the Miles and Huberman interactive model analysis. The results of this research, are: (1) eco-print batik is a technique of applying leaves or flowers on a fabric to produce certain (natural) motifs. It was introduced in Indonesia around 2016 and easily accepted by Indonesian textile crafters because Indonesia has strong roots in the tradition of natural dyeing and textile arts (batik process). In 2018, eco-print is increasingly gaining attention and popularity, especially for one of the batik crafters in Bantul with a workshop space, namely Sogga Batik. (2) The process of making eco-print batik uses several techniques, such as pounding, leaf fermentation, and steaming techniques. From the three techniques, Yanti Sogga in Bantul prefers the steaming technique because the resulting color is strong and long lasting. The process is not too long. Moreover, the materials used (input), the process, the product (output), and marketing method in eco-print batik are very eco-friendly because these concern about environmental sustainability. (3) The concept of eco-friendly products of green business based on indigenous knowledge by the case of eco-print batik in Bantul is being the novelty concept, namely the “indigenous eco-friendly product” by strengthening and combining Sommer’s green business components, ILO’s green business elements, and 3R method (go green concept) with indigenous knowledge perspective.