FINDING BATIK'S WAY : Dari Warisan Nusantara menuju Diplomasi Budaya

Asriana Issa Sofia, M.A (Lecturer, Department of International Relations, Paramadina University) Hendriana Werdhaningsih, M.Ds (Lecturer, department of Product Design, Paramadina University)

ABSTRACT

After its long journey, Indonesian Batik has reached higher level of achievement by getting into Representative List of the Intangible Culturage of Humanity in 2009 by UNESCO, an United Nations committe that works to create the conditions for dialogue among civilizations, cultures and peoples, based upon respect for commonly shared values. Indonesian Batik strength fulfilled the criterias for the international acknolegement. Indonesian Batik has richness of symbolism of social status, local identity, nature and historical heritage, all together build up Indonesian identity. Batik able to raise people awareness and motivate bussinessman, young generations, government and non-government institutions, to be in a common mission to raising the awareness, capacity-building and educational activities related to Batik. Communities and individuals totally involved in the nomination process to making scientific proves through literacy research and field study. Ministry of Culture and Tourism of Republic of Indonesia also make a commitment regarding safeguarding the Indonesian batik as a culture.All proves had convinced UNESCO to acknowledge Batik as Indonesian cultural heritage.

During three years after it, appreciations to Batik is rising domestically. Batik craftmen in every area developing variety of Batik motif and colour. New creations of Batik fashions grows in numbers and alternatif of uses; formal and informal uses, and wearing by all ages. Young generations use batik like everywhere. Batik education in formal and non formal courses established by government and non- government institutions. In these years domestic movements of Batik is flowering – but actually it still needs critical thinking to see the hidden values of Batik- and decide what should we do next? The Cultural Heritage status is not an end, but it a beginning for Batik to be a tools of cultural diplomacy in internationa level.

In the perspective of international relations, cultural diplomacy is one of soft diplomacy instrument to reach the soft power of a country. Soft power could measure from how the culture has legitimated attractiveness, political aims and states policies that could accepted by other countries. Image, public relations, and ephemeral popularity often become basic aims from a cultural diplomacy. Indonesian Batik, supported by its domestic strenght, supposed to be able to reach cultural attractiveness in international level. In this proccess government and also non-government stakes holders have ability to cultivate and bring Indonesian Batik to various opportunities in international level. This paper captured how Batik diplomacy has been done and evaluate it to give recommendations for a sustain diplomacy.

Keywords : batik, cultural diplomacy

1 Introduction The Lists of Intangible Cultural Heritage Program that established by UNESCO is one of the way to start up Batik preservation in higher level. Succesfully get into the list, is not mean that mission accomplished. Being on the list means that now we need more structured and proper action to preserve Indonesian Batik. Still needs critical thinking to see the hidden values of batik- what should we do next? The Cultural Heritage are not supposed to just be on the list and being preserved but more over cultural heritage should be the tools of cultural diplomacy in internationa level.

The Centuries of Batik Journey

Batik could interpreted as colouring technique and as textile motif. Batik motif, named lereng, carved on Syiwa golden statue at Gemuruh Wonosobo and ceplok motif carved on Candi Banon’s Ganesha statues clothes. Both statues made on 9th century. Batik motif also found carved on Padmipani statue (made 8-10th century) and Manjustri statue (made 10th century) in Middle Java. Buddish wisdom goddess statue, Prajnaparamita (made 13th century) clothes carved flowers and plants tendril that similar with batik motives that we can find today.

Figure 1. Prajnaparamita (made 13th century) clothes carved flowers and plants tendril Source: (http://www.republika.co.id/berita/nasional/umum/12/06/16/ m5p4ef-inilah-asalmuasal-batik-di-nusantara-1)

Batik as colouring techniques predicted brought to Java by Indian traders in 14th century. Some references also believes that Batik techniques came from Toraja, Folres, Halmahera and Papua that used not wax but sticky rice to block the colour. Batik as motif and techniques, according to some litelatures, connected with Majapahit Kingdom (1293-1500). 2 At the beginning batik was inner palace activities. Palace ladies made hand written batik to exercise their patience, resilience and serenity. Batik came from great tradition, tradition that create with full awareness to generated (Robert Redfield in Supraktikno Rahardjo, 2002). Batik traditions passed to people from little tradition through ngengreng method, when people outside the court was finishing the underside of hand written batik made by the palace ladies (Sri Soedewi Samsi, 2011). Most of little traditions people accepting things without critical thought. In 1968, Ali Sadikin, at the moment was DKI Governor, at the first Pekan Raya Jakarta opening, declared Batik as national formal clothes. After since batik has been used as formal dress, government and school uniforms. Iwan Tirta, the late batik designer, explained the strength Batik Jawa as basic of National Batik that could copied by other country because it has exact technique that use wax and canting, has standard various geometrical and non-geometrical motives and has intimate connection with other cultures not with one religion. All types of batik production flourished in Java, both traditional variety and more colorful ones, between 1960s -1980s, as Sri Soedewi Samsi mentions in Techniques, Motifs and Pattern Batik Yogya and Solo.

In 1980 batik industries decrease. Most of younger generation in fifties and sixties went to school and study for higher education. They aren’t prepared to be batik craftments or continuing their parents batik bussiness. Many industies closed. Some communities and individuals still very concern about batik, but exclusivelly and not as part of living. Batik became collection items, special occations clothes and official goverment uniform, live only from endorsment small batik communities and goverment. To preserve batik, his situation need to be change, to bring back batik as living part of Indonesians live. The Lists of Intangible Cultural Heritage Program that established by UNESCO is one of the way to start up the batik preservation in higher level. This program aims to ensure the better protection of important intangible cultural heritages worldwide and the awareness of their significance.

Proposing Batik as Intangible Cultural Heritage List took a long and full of complex task process, that involved by stakes holders, communities that really care about Batik Indonesia. UNESCO timetable and procedures for inscription The Intangible Cultural Heritage devided to 3 phase; Preparation and submission (6 months), Evaluation (6 months) and Examination (6 months). After preparation and submission phase, seminars held to prepared Nomination Batik File to UNESCO at the begining of August 2008. The 4th seminars formed Batik Community Forum as a forum for governments institutions, non-government institutions, foundations, paguyuban organozation and individuals as stakesholders involved in batik culture. On 19th August, Ministery of Culture and Tourism Republic of Indonesia commited regarding safeguarding of the culture of Indonesia batik. On 3 22nd August, 100 signed statement of agreement of Indonesia Batik Community with Nomination File of Indonesian Batik to UNESCO. It completed also by quesioner about batik as part of daily life to representations of provinces in Indonesia.

According to the UNESCO, The longer Representative List of the Intangible Cultural Heritage of Humanity comprises cultural practices and expressions that help demonstrate the diversity of this heritage and raise awareness about its importance. Indonesian Batik pretty much meet the condition, satisfies all of the following criteria that:

- Indonesian Batik has a rich symbolism related to social status, local community, nature, history and cultural heritage; provides Indonesian people with a sense of identity and continuity as an essential component of their life from birth to death; and continues to evolve without losing its traditional meaning; - Inscription on the Representative List would contribute to ensuring the visibility of intangible cultural heritage at the local, national and international levels, raising awareness about its value and motivating practitioners, in particular younger generations, to continue its practice; - Various actors such as governmental and non-governmental institutions and community-based associations have jointly carried out safeguarding measures including awareness-raising, capacity-building and educational activities, and intend to continue these efforts; - The communities concerned were widely involved in the nomination process through field research in the communities; they also participated in the file preparation team and in a series of seminars to discuss the file contents, and provided their free, prior and informed consent; - The element is inscribed on the inventory of cultural elements maintained by the Department of Culture and Tourism.

As consequences all stakes holders; Indonesia government, batik communites, industries and all Indonesian has to work together continuosly in conserving, preserving and keep Indonesia Batik alive and grows together with the people. Preserving batik could not happend by creating programs but has to be a movement.

Domestic Flouiring After The Acknowledgment: Modernization of Cultural Heritage

After the acknowledment, Indonesian celebrates batik as theirs by wearing batik clothes in

4 every occations. 2nd October declared as National Batik Day. In 19th October 2009, one of agreement in DPR RI leaders meeting is obligating all members to use batik dress code every Friday. Not only DPR RI members, most of government or private employees, wear batik every Friday. Batik clothes, which in past time wore just for formal occasion, now become every occasion clothes. Internationals musicians who will perform at Jakarta International Java Jazz 2010 should wear batik clothes. Java Jazz it self will be 100% Cinta Indonesia promotion event. Minister of Trade, Mari Elka Pangestu said, “We must force international musician use batik, those impact will be incredible”. Batik design clothes not only for adults, various design also developed for kids, and teens, for daily informal and formal occasions. Years ago, we have to go to Yogyakarta, Solo, Pekalongan or Cirebon to find batik clothes. Boutique affords higher quality and price traditional market provides lower quality and price. Now batik clothes sell in various places and prices. Some of non boutique store sells clothes with wrong interpertations of how to put motives properly, for example, Mega mendung motif that naturally horizontal, used vertically.

Figure 2. Cheaper batik and more expensive one with vertical and horizontal Mega mendung motif Source: http://www.bukalapak.com/products/5exc_- batik-cirebon-motif-mega-mendung-coklat and www.lebah.com

Figure 2. Parang motif uses for informal dress Source: http://rumahbatiksoraya.blogspot.com/2011/05/celana-pendek-batik.html and http://www.tokopedia.com/medogh/jaket-batik-jm-0101-parang

Public figures, especially artist stars to endorse Batik Indonesia by using it as part of thier costume. One of example is Nidji Band, in one concert in Malaysia, used batik as element of thier costumes. The costumes designed by Ratri from Rumah Batik Wijaya, Bandung. Giring, the lead vocal 5 used parang barong which usually used by the King (Figure 3) and the others used parang rusak which usually used by warriors. The costume designer recreated meanings by using traditional symbol. The lead vocal as leader of the group analogized as the King, and the musicians as the warrior. The group performed outside country analogized as went to the battle.

Figure 3. Giring vocalist of Nidji, famous Indonesia band used parang barong as an element of his costume when performed in Malaysia. Source: http://www.rujakmanis.com/artis-indonesia/giring-nidji/nidji-pakai-batik-saat-manggung-di-malaysia

Another example is Agnes Monica who use batik in every show, with more free interpretations of values and the meaning of symbols. She use batik textile with traditional motif for various fashions items; scarf, mini skirt, bustier, legging, dress, and modern kabaya.

Figure 4. Agnes Monica, Indonesian famous singer use batik for her stage costume Source: http://id-id.facebook.com/AMFansClub?sk=map&activecategory= Foto&session_id=1334400499&filter=1

Java Batik is not the only batik becomes more popular but also batik originally, in motives or techniques, from other island such as Sumatra, Kalimantan, and Papua. Every area of province also develop new authentic motif such as Batik Depok, Batik Kabupaten Bogor, Batik Kotamadya Bogor and so on.

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Figure 5. Batik Papua Source: http://nice-green.blogspot.com/2010_09_01_archive.html and http://clothes-ku.blogspot.com/2010/08/kinds-of-batik.html

Figure 6. Batik Kalimantan Source: http://galeri-batik-kalimantan.blogspot.com/

Batik also entering formal educations. Institut Seni Indonesia (ISI) in Solo by September 2012 opened Batik undergraduate study program. In Mid-Java, especially in Solo and Yogyakarta, Batik has been part of curriculum as one course or extra curricular since mid 2010i. At least eight vocational high schools have batik course. One of those vocational high schools is SMK Negeri 1 Rota Bayat in Klaten founded in 2009, has vision to graduate younger generations who are able to produce a high-quality handwritten batik suitable to be sold international and domestic marketsii. Some associations of batik enthusiasts, such Paguyuban Sekarjagad, Batik Indonesia Foundations, Titian Foundations, Djarum Apresiasi Budaya and many more, create various programs such as publishing books, fashion shows, exhibitions, workshops and competitions. Some dramatic efforts also organize by communities and inviduals such 500 kg, 10 m x 5,9 m x 80 cm ‘giant batik pillow’ and 50m ‘the longest hand written batik’ organized by Komunitas Himpunan (association of community) Batik Semarang (Hebats), also Batik Fashion Show on The Street held at Sidoarjo at the end of 2011, quite effective to steal the moment or as an eye-catcher.

Cultural Diplomacy : A Conceptual Framework In international relations, power is one country’s ability to get another country to do what it wants. There are many kinds of power : rational persuasion, economic, cultural, technological, and 7 military. (The New World of International Relations, Michael G.Roskin & Nicholas O. Berry, 2002). Power also classified based on the way they are launched. "Hard power" is military forces and economic strength (investment, aid, export-import) using to achieve state’s national interest. But there is another way contrasted to the hard power in world politics. “Soft power” is the ability to get what you want through attraction rather than coercion or payments. Nye identified three sources of a nation’s soft power as its culture, political values, and foreign policies with internationally consented credibility and moral authority (Nye, 2004) A country use diplomacy to achieve its national interest in raising soft power. Public diplomacy as one of diplomacy involving non state actors to contribute their role in many activities that supporting state actors (government, ambassador, atache, foreign minister). Non state actors refer to the citizen with different education, expertise and experience to contribute their ideas and active in programs that can create new better changes. (Yulius 2007). Informal and flexible public diplomacy activities can complement the government’s diplomacy effort which is often very formal and limited.Three types of public diplomacy activities are research, education and action. Actions is including advocation activities, and education is activities of disemination of information as well as workshops. Public diplomacy and cultural diplomacy are fundamentally compatible, which is cultural diplomacy is a media of public diplomacy. Cultural diplomacy presents a national image abroad (potentially as part of a national brand); its role in the protection of cultural sovereignty; and how it advances domestic objectives. Cultural diplomacy, in presenting a national image abroad, frequently emphasises a state’s modern-ness or its cultural distinctiveness. This raises the question of the link between national image and national brand and highlights the limitations inherent in national branding. For some states, cultural diplomacy plays a role in the protection of cultural sovereignty. Cultural diplomacy’s domestic impacts include positive international recognition for a state’s culture, which contributes to a state’s sense of being a distinctive national community and to its confidence, economic prosperity and nation-building. (Simon Mark, 2008) Cultural diplomacy remains a valuable tool of diplomacy and is likely to become more important to governments, particularly to their public diplomacy and as a contributor to soft power, because of cultural diplomacy’s promulgation of a distinctive national identity, the increasing importance of a cultural aspect in economic interests, and the intrinsic appeal of culture to globalised populations.(Roskin & Berry, 2002) In examine the aspects of the cultural diplomacy, it can be seen in current cultural diplomacy activities : These are 1) cultural diplomacy’s role in the presentation abroad of a national image, and the

8 extent of linkage of such a presentation to a national brand 2) the role of cultural diplomacy in the protection of cultural sovereignty and 3) the domestic objectives and impacts of cultural diplomacy. (Hyungseok Kang, 2011) The increasing economic orientation to cultural policy began to take hold in the recent times. This is based on “The idea that a creative sector can be identified within the larger macroeconomy which is a particular source of economic dynamism in the new information age” .(Kang, 2011)

A Potrait of Batik Diplomacy

Now we will examine how Batik diplomacy is operating by using the conceptulframework of Cultural Diplomacy above. Below are some activities that can represent pattern of diplomacy actions in promoting Indonesian Batik at international level :

• Mrs.Ginandjar Kartasasmita, Ir. Firdaus Ali, and DR. Dipo Alam MEM took the initiative to set up a body / institution with mission to praserve and develop indonesia's batik craft in a single body so called Yayasan Batik Indonesia (Indonesian Batik Foundation) in 1994. One of the famous annual event is World Batik Summit. World Batik Summit 2011, held in Jakarta, supported by some ministries, has Indonesia and foreign exhibitors, invite craftsmen, manufacturers and entrepreneurs, as well as SMEs to participate in the exhibition by showing high quality Batik profile with the latest trend of designs.

• Indonesian Festival Seattle" (IFS) 2012 was held in Seattle Washington, USA by Indonesia Batik Foundation. It wa an exhibition of classic Batik and and fashion show of the modern Batik . This event is an ooportunity to introduce as well as marketing of Indonesia Batik.

• Dino Patti Djalal, the Ambassador of Indonesia for USA was held the American Batik Design Competition as a pilot project of Indonesia Embassy in Washington D,C in 2012. In this event, international designer has created the Batik design with their country style. 9 American with their American Batik have won the competition. It is a mission to develop foregin Batik such as Russian batik, European Batik, Arabian batik, etc in the future.

9 • Department of Foreign Affairs provided Indonesian Art and Culture Scholarship to 9 talented young designers from ASEAN countries. They got training in Batik workshop for two months in Jogjakarta.

• Their batik design has shown at the Batik Exhibition held by Directorate General of Public Diplomacy, Ministry of Foreign Affairs in Bandung, 2011. In this event the 9 ASEAN young designers showed 45 Batik design with uniqueness feature of their country. Thailand Batik for example, represent by elephant motif.

• The Indonesian Embassy in Lisbon held an Exibition of Jewelry, Batik and Wayang in 2012. Two days event provided a short workshop on making Batik for the visitors.

• ASEAN Historical Photo Exhibition and Batik Exhibition of ASEAN Young Artists 2011 was held at the Museum of Asian-African Conference, Bandung. The Director General of Public Diplomacy and Information of the Ministry of Foreign Affairs, Andri Hadi stated that the series of exhibition is an active effort of the Ministry of Foreign Affairs to realize the socio-cultural pillar of ASEAN, with the goal of strengthening the solidarity and unity among the society and country members of ASEAN. In relation to that matter, the Indonesian cultural heritage must be respected in order to be able to strengthen the realization of ASEAN Community 2015.

• Association of Indonesian Student in Japan was celebrating National Batik with their own way. The Committee asked to all Indonesia students there to wearing Batik costum and took pictures in front of their campus. They played a role as Cultural Ambassador by introducing Indonesian Batik to the local society in Japan.

10 • Indonesian Batik: World Heritage in Indonesian Embassy, Washington, 2011.

Models show Batik clothes made by designer Iwan Tirta at Indonesian Embassy, Washington

Using the conceptual framework, here are analysis on Batik Diplomacy, as listed below :

1. Batik is a source of soft power in terms of a distinctive cultural product of Indonesia. The strength as a soft power formally has provided by UNESCO recognition in Representative List of the Intangible Culturage of Humanity in 2009.

2. The action has started since government establish 2nd October is a National Batik Day as stated in Keputusan Presiden No 33 Tahun 2009 about National Batik Day at November 17, 2009.

3. The national interest Batik was to achieve international recognition that Batik is belonging to Indonesia, marked by the UNESCO recognition on Batik is Indonesia cultural heritage. The national interest now is to maintain world knowing that Batik is Indonesian national brand, by present a national image abroad. Of course domestic movement in developing and promoting Batik is needed to facilitating the actions abroad. Indonesia hold a cultural sovereignty of Batik and has to keep by continuously diplomatic actions.

4. There are vary ways in promoting Batik in events. Dissemination information of Batik through seminars, exhibitions and fashion show; educate people by granting scholarship to learn all

11 about Batik as well as giving opportunity to visitor to trying drawing motifs on the batik cloth; and held competition for foreigner in creating Batik motifs based on their own characteristic. All those indicate creative ways in a cultural diplomacy.

5. There are many initiatives to translate the complex and difficult classic value of Batik to modern-ness in that can be seen in the growing design, model and motif of Batik. These “new Batik” has developed in domestic industry to carried away in other countries. It is a kind of creative economy as asupporting tools in Batik diplomacy.

6. Scope of diplomacy actions can be divided in regional and international level. Indonesia has a good opportunity to play Batik diplomacy to the neighborhood of southeast Asia countries through ASEAN framework. At international level Indonesia has conduct strategies to build the national brand of Batik through many activities mentioned above.

a. As public diplomacy, Batik diplomacy has carried out by government as well as non government actors :

(a) Government actors : Department of Foreign Affairs, Indonesian embassy (KBRI) and industrial or tourism-related ministries are the players behind many reputative events abroad.

(b) Non-government actors also have important role in launch the cultural diplomacy. The great Indonesian Batik Foundation for instance, is one among Batik communities which are growing in recent years. Companies, batik designers and craftmen, students abroad until housewifes abroad have unvaluable contributions in the cultural diplomacy.

7. The positive impact of Batik diplomacy can be measure from the attractiveness of people abroad and the economic advantage :

12 a. The increasing attractiveness on Batik is seen from level of participation of foreigners in the events or programs. They have willingness to compete in getting scholarship, attended seminars, visited the exhibitions, even involving in Batik promotion events as Batik designer and models in fashion show.

b. In the economic aspect, according to Minister of Trade Mari Elka Pangestu, Batik has high economic value for domestic market. Since the recognition of UNESCO, there is an increase in domestic market as well international market. Batik selling in domestic was 3,9 billion rupiah, or higher than 2,5 billion 4 years ago. Batik export value is also increasing from 14,3 million USD in 2006 up to 22,3 million USD in 2010. (metro.kompasiana.com/.../jadikan-batik-sebagai-sarana-diplomasi-internasional/)

C onclusion

Batik has a long journey in getting its positioning in international relations. Indonesia government as well as citizen did a hard diplomacy effort in achieving the international recognition as Representative List of the Intangible Cultural Heritage of Humanity by UNESCO in 2009. After that, many kind of activities in cultural diplomacy and public diplomacy are developing by every element of Indonesia people. International level of program should have strong base of undstanding about batik it self, the hidden values and the phisophical part of Batik indonesia. Since now batik as commodity product grows much faster than studies about batik as cultural significant, internalization and ancoring Batik has to be designed. Degradations of values could avoid by educate people through various program and also place making. Aspirational, compelling and delightful innovative place that expose batik values will guide people in understanding its hidden values, through own critical thinking ability.

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