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Indonesian Cultural Diplomacy Through UNESCO in Winning Batik

Indonesian Cultural Diplomacy Through UNESCO in Winning Batik

Indonesian Cultural Diplomacy Through

UNESCO in Winning as Intangible Cultural Heritage

(2008-2009)

By Verdya Maria Josefine 016201400171

A thesis presented to the Faculty of Humanities, International Relation Study Program President University In partial Fulfillment of the requirement for Bachelor’s Degree in International Relation Specialized in Diplomacy Studies

2019

THESIS ADVISER RECOMMENDATION LETTER

This thesis entitled “Indonesian Cultural Diplomacy Through UNESCO in Winning Batik as Intangible Cultural Heritage (2008- 2009)” is prepared and submitted by Verdya Maria Josefine in partial fulfillment of the requirements for the degree of Bachelor of Arts in International Relations in the Faculty of Humanities has been reviewed and found to the satisfied the requirements for a thesis fit to be examined. I therefore recommend this thesis for Oral Defense.

Cikarang, , May 10th 2019

______Drs. Teuku Rezasyah, M.A., Ph.D

______Anggara Raharyo, S.IP., MPS

i

DECLARATION OF ORIGINALITY

I declare that this thesis, titled “Indonesia Cultural Diplomacy Through UNESCO in Winning Batik as Intangible Cultural Heritage (2008- 2009)” is, to the best of my knowledge and belief, an original piece of work that has not been submitted, either in whole or in part, to another university to obtain a degree.

Cikarang, Indonesia, May 10th 2019

______Verdya Maria Josefine

ii

PANEL OF EXAMINER APPROVAL SHEET

The Panel of Examiner declare that the thesis entitled titled “Indonesian Cultural Diplomacy Through UNESCO in Winning Batik as Intangible Cultural Heritage (2008-2009)” that was submitted by Verdya Maria Josefine majoring in International Relations from the Faculty of Humanities was assessed and approved to have passed the Oral Examination on (May, 17th 2019).

Drs. Teuku Rezasyah, M.A., Ph.D Thesis Adviser

Anggara Raharyo, S.IP., MPS Adviser II

Isyana Adriani, BA., M.Si. Examiner

iii

ABSTRACT Verdya Maria Josefine, 016201400171, Indonesian Cultural Diplomacy Through UNESCO in Winning Batik as Intangible Cultural Heritage (2008-2009) Advisor: Drs. Teuku Rezasyah, M.A., Ph.D & Anggara Raharyo, S.IP., MPS

Cultural diplomacy is an effort to defend for the national interests of a country through culture, such as sports and art, which in other words are not included in politics, economics, or the military. Indonesia is a superpower in the cultural field because Indonesia has extraordinary advantages in national culture. This illustrates that Indonesia has an extraordinary cultural wealth that can become an asset of a nation, and sell value for the benefit of Indonesian diplomacy in the international . One of Indonesia's cultural assets is batik. Batik is one of Indonesia's cultural wealth assets which in 2008 claimed that batik was a culture belonging to . the claim of Indonesian culture is not only claimed by Malaysia once, as before, the and have also been claimed by Malaysia. In the end Indonesia did not remain silent in this regard, Indonesia reclaimed batik which was a culture belonging to Indonesia. With the help of the Educational, Scientific and Cultural Organization called UNESCO to convert batik as an Intangible Cultural Heritage or called ICH. In this case, Indonesia involved several countries and organizations in the process of winning batik again.

This research was carried out in the period September 2018, until April 2019, using a qualitative descriptive analysis method, to provide analysis from sources obtained in the form of articles, news, books, and scientific journals.

Keywords: Cultural, Cultural, Indonesian, Malaysian, Batik Diplomacy, United Nations Educational, Scientific and Cultural Organization, Intangible Cultural Heritage.

iv ABSTRAK Verdya Maria Josefine, 016201400171, Indonesian Cultural Diplomacy Through UNESCO in Winning Batik as Intangible Cultural Heritage (2008-2009) Pembimbing: Drs. Teuku Rezasyah, M.A., Ph.D & Anggara Raharyo, S.IP., MPS

Diplomasi budaya adalah upaya memperjuangkan kepentingan nasional suatu negara melalui budaya, seperti olahraga dan seni, yang dengan kata lain tidak termasuk dalam politik, ekonomi, atau militer. Indonesia adalah negara adidaya di bidang budaya karena Indonesia memiliki keunggulan luar biasa dalam budaya nasional. Ini menggambarkan bahwa Indonesia memiliki kekayaan budaya yang luar biasa yang dapat menjadi aset suatu bangsa, dan menjual nilai untuk kepentingan diplomasi Indonesia di dunia internasional. Salah satu aset budaya Indonesia adalah batik. Batik merupakan salah satu aset kekayaan budaya indonesia yang pada tahun 2008 di klaim bahwa batik merupakan kebudayaan milik malaysia. Pengklaiman kebudayaan milik Indonesia bukan hanya sekali di klaim oleh Malaysia, seperti sebelumnya, keris dan angklung pernah juga di kalim oleh Malaysia. Pada akhirnya Indonesia pun tidak tinggal diam dalam hal ini. Indonesia merebut kembali batik yang merupakan kebudayaan milik Indonesia. Dengan bantuan United Nations Educational, Scientific and Cultural Organization yang disebut UNESCO untuk menobatkan batik sebagai Intangible Cultural Heritage atau disebut ICH. Dalam hal ini, Indonesia melibatkan beberapa negara dan Organisasi pendidikan, keilmuan dan kebudayaan dalam proses pemenangan batik kembali.

Penelitian ini dilakukan dalam jangka waktu September 2018, hingga april 2019, dengan menggunakan metode analisis deskriptif kualitatif, untuk memberikan analisa dari sumbe-sumber yang didapatkan berupa artikel, berita, buku, dan jurnal ilmiah.

Kata Kunci: Diplomasi Budaya, Budaya, Indonesia, Malaysia, Batik, United Nations Educational, Scientific and Cultural Organization, Intangible Cultural Heritage.

v ACKNOWLEDGEMENT

I cannot believe myself writing an acknowledgement now. This is a thank you note for everything that has happened to me during my university life. Puji Tuhan, Halleluya, first and foremost, I would like to express my deepest gratitude to Christ for giving me the strength to complete my research with all the challenges and obstacles during the process, and also for blessing me with following people and friends, who have been my greatest support in my life.

I would also like to express my deepest thanks to the best parents in the world, my father, Evert Edoxius Yosef Tanalepy; my mother, Dyah Wahyuningsih; and to my little Brother, Marcell Tanalepy, for their never-ending supports to my life, their guide for pursuing good things in life, and their pure and unconditional love that motivate me to complete this research. Thank you, Ma, Pa, Nyo for always teaching me to believe that I could do anything I put my mind to.

My sincerest thanks goes to Mr. Drs. Teuku Rezasyah M.A., Ph.D. Mr.Anggara Raharyo, S.IP., MPS and Mr. Riski M. Baskoro, S.Sos., MA. for your generous guidance during the writing of my thesis. Your advice and knowledge were essential to the completion of this research. I would also like to thank all lecturer and staff in International Relations study program for the help and support during my study for these four years, I believe that I have learned from the best.

I would also like to send my huge thanks and loves to my best girls, who have always been there though my ups and downs: Shellyani Rahman, Maria Blandina Kaemong, Aristia Wulandari, Dini Nur Aisyah. Thank you for your love, supports, tears, and fight for always listening, and always understanding me. For Babalian Squad, Chintya Dennia, Edwin Pratama, Immanuel Ragil, Angelia Errene, Kevin Cornelius, Alexander Kevin, Emia Sola Vide, for always give me support and love. Also for Gabriella Jessica Renata, Anggita Tobing, Rendy Alraka for always be there if I lose my hope.

vi I would like to thank you to my cousins, Andresa Febrian, Angga Apriliano, Jessica Venne Frans, Valencia Adira Frans, Ananda Meirindha, thank you for always listening to my stories about my university life and always give me best support. Thank you all.

Last but not least, I would like to send my very special thanks goes to my best partner, listener, driver, boyfriend, culinary partner, Anto Pranata. Thank you for always be there whatever happened, and always support, give the best solution, and always company me wherever I want. Thank you, Nto.

Cikarang, Indonesia, 10th May 2019

Verdya Maria Josefine

vii TABLE OF CONTENTS

THESIS ADVISER RECOMMENDATION LETTER...... i DECLARATION OF ORIGINALITY...... ii PANEL OF EXAMINER APPROVAL SHEET...... iii ABSTRACT...... iv ABSTRAK...... v ACKNOWLEDGEMENT...... vi TABLE OF CONTENT………………………………………………….……viii LIST OF DIAGRAMS………………………………………………………...... x LIST OF FIGURES…………………………………………………………….ix CHAPTER I INTRODUCTION………………………………………………..1 I.1 BACKGROUND OF THE STUDY…………………………………..1 1.2 PROBLEM IDENTIFICATION……………………………………...6 1.3 STATEMENT OF THE PROBLEM……………………………….…8 1.4 RESEARCH OBJECTIVES…………………………………………..8 1.5 SIGNIFICANCE OF THE STUDY……………………………...... 9 1.6 CONCEPTUAL FRAMEWORK……………………………….….....9 1.7 SCOPE OF LIMITATION OF THE STUDY………………….…….11 1.8 THESIS OUTLINE……………………………………………….….12 1.9 DEFINITION OF TERMS…………………………………………...13 CHAPTER II LITERATURE REVIEW……………………………………...14 II.1 BACKGROUND………………………………………………….…14 II.2 REVIEW OF LITERATURE………………………………………..15 II.2.1 BOOKS…………………………………………………….15 II.2.2 JOURNALS…………………………………………….….18 II.2.3 WORKING …………………………………….….20 II.3 CONTRIBUTION TO THE FIELD………………………....21 CHAPTER III RESEARCH METHODOLOGY……………………….……22 III.1 RESEARCH METHODOLOGY……………………………….…..22 III.2 RESEARCH FRAMEWORK………………………………………23 III.3 RESEARCH TIME AND PLACE……………………………….…24 III.4 RESEARCH INSTRUMENTS………………………………….….25 viii CHAPTER IV THE RELATION BETWEEN BATIK AS INTANGIBLE CULTURAL HERITAGE AND UNESCO…………………26 VI.I THE PHILOSOPHY AND THE DEFINITION OF BATIK………27 VI.1.1 TYPES OF BATIK………………………………………29 VI.1.2 BATIK MOTIFS…………………………………………31 VI.1.3 BATIK TYPES BASED ON DESIGN…………………..35 VI.2 BATIK IS INDONESIAN WAY OF LIFE………………………..38 VI.3 UNESCO…………………………………………………………...41 VI.4 INTANGIBLE CULTURAL HERITAGE………………………...44 VI.5 BATIK AS INTEGRAL PART OF CULTURAL DIPLOMACY INDONESIA……………………………….…...... 48 CHAPTER V PROCESS AND CHALLENGE OF INDONESIA IN WINNING BATIK AS INTANGIBLE CULTURAL HERITAGE…….…..50 V.1 DOMESTIC EFFORT IN WINNING BATIK……………….….…50 V.1.1 BATIKMARK………………………………………...…..50 V.1.2 BATIK MOTIF DESIGN COMPETITION……………....53 V.1.3 SOLO BATIK CARNIVAL……………………………....54 V.1.4 PT. GITAR BATIK PRODIKTAMA………………….…56 V.2 INDONESIA AND INTERNATIONAL COOPERATION…..……57 V.2.1 BARACK OBAMA’S MOTHER COLLECTION BATIK EXHABITION………………………………...…58 V.2.2 THE COOPERATION BETWEEN INDONESIA, BULGARIA, FRANCE IN PERFORM BATIK EXHIBITION………………………………………….….59 V.2.3 EXPORT BATIK TO INTERNATIONAL……………….61 V.2.4 INTRODUCTION OF BATIK AND BATIK EXTRACURRICULAR IN GREECE……………...…….62 V.3 INTERNATIONAL RESPONSES TO INDONESIA BATIK…...... 64 V.4 INDONESIAN DIPLOMACY IN WINNING BATIK AS INTANGIBLE CULTURAL HERITAGE……………………...….66 CHAPTER VI CONCLUSION…………………………………………….....70 BIBLIOGRAPHY…………………………………………………………...…73 APENDICES………………………………………………….…………...... ….87

ix LIST OF DIAGRAMS

Diagram 3.1 – Research Framework………………………………………………..23 Diagram 5.1 The Process of winning batik as intangible cultural heritage………………………………………………………….69

x

LIST OF FIGURES

Figure IV.1 Handmade batik process…………………………………….…29 Figure IV.2 Stamped Batik Process…………………………………….…..30 Figure IV.3 Batik painting……………………………………………….…30 Figure IV.4 Printing batik process……………………………………….…31 Figure IV.1 Geometric motifs batik…………………….………….……….31 Figure IV.2 Non Geometric motif batik………….……....………………....32 Figure IV.3 Figurative batik motif……………………………………….…33 Figure IV.4 Semi figurative batik motif…………………………………….33 Figure IV.5 Non Figurative batik motif…………………………………….34 Figure IV.6 Batik Design……………………………………....35 Figure IV.7 Solo Batik Design……………………………………………...36 Figure IV.8 Batik Design……………………………………….….36 Figure IV.9 Batik Design………………………………………37 Figure IV.10 Madura Batik Design…………………………………………37

xi CHAPTER I

INTRODUCTION

1.1 Background of the Study

In International Relations, there are several types of diplomacy, one of which is cultural diplomacy.1 This is one of the ways in which the state does diplomacy. Because it cannot be denied that the settlement of a relationship can be carried out properly through this diplomacy. Diplomacy is the implementation of relations between countries a sovereign country through diplomat to promote international negotiations. Indonesia is a superpower in the field of culture because Indonesia has tremendous advantages in national culture. 2 The culture is inherited from generation to generation. This illustrates that Indonesia has a tremendous cultural wealth that can become a nation's asset, and selling value for the benefit of Indonesian diplomacy in the international world.3 One of Indonesia's cultural assets is batik. However, the abundance of culture has caused this nation to experience several problems with neighboring countries, such as Malaysia concerning cultural claims. Malaysia has claimed several times Indonesia's wealth as its culture.4 Claims like this cause the government to take a position to save Indonesian culture. This attitude is deemed necessary because if left uninterrupted, similar claims will probably be repeat, even by countries other than Malaysia. Claims made by Malaysia it became the furious point of the Indonesian people, which made the government act when the recognition of batik as a culture owned by Malaysia. Batik is the pride of Indonesia is open recognized by neighboring countries, Malaysia, and this is included in the struggle for ownership of things, and

1 Jeremy Black, A History of Diplomacy (London: Reaktion Books, 2010), PDF e-book. 2 Juniar L. Umagapi, "The Rise of -Indonesia Relationship: Soft Power, Resources, and Prospect in the Future," Indonesian Perspective 2, no. 2 (2017):doi:10.14710/ip.v2i2.18475. 3 Ibid. 4 Peter Gelling, "Score One for Indonesia in the War Over Batik," Breaking News, World News & Multimedia - The New York Times, last modified September 14, 2009, https://www.nytimes.com/2009/09/15/world/asia/15iht-batik.html.

1 Indonesia has chosen to face it by proposing batik as a national heritage that is recognized by all countries in the world. One way the government can save this native Indonesian culture is by patenting the culture. This action is expected to be a solution to the problems of cultural disputes between countries, and the wealth of national culture or national heritage that should be carry the name of the nation, is not recognized by unauthorized parties.5 Batik, which is one of the Indonesian cultural heritages, in July 2008, there was news that made Indonesia furious. One of the Indonesian cultures ‘batik’ recognized by Malaysia is their culture.6 The latest cultural quarrel, however, is mostly unilateral. Malaysians, responding to the bursts of letters in Indonesian , said they were mostly confused by ' strong reaction to suspicions that they were being encroached on by Malaysia. Some Indonesian people, who call their neighbors "Maling-sia" - "maling" means "thieves" in Indonesian have promised their readiness to fight if war is needed.7 Batik is an art and craft, which is becoming more popular and well known in The West as a highly creative.8 The art of decorating the fabric in this way, using candles and dyes, has been practiced for centuries. In , Indonesia, batik is part of an ancient tradition, and some of the best batik fabrics in the world are still made there. The word batik comes from Javanese ‘titik’ means dot.9 To make batik, the selected fabric area is block by brushing or drawing a hot wax on it, and the fabric is then dyed. The part is coated with dye resistant wax and remains the original color. The process of waxing and dyeing can be repeated to create more complex and colorful designs. After the final dyeing of the wax is remove and the fabric is ready for wear or display. Contemporary batik, while a lot of the past, is very

5 Liliek A. Suhardjono, "Battling for Shared Culture Between Indonesia and Malaysia in The Social Media Era," Humaniora 3, no. 1 (2012): doi:10.21512/humaniora.v3i1.3234. 6 UNESCO, "UNESCO Marks “Batik Day” by Wearing Batik to Work | United Nations Educational, Scientific and Cultural Organization," UNESCO | Building Peace in the Minds of Men and Women, last modified January 4, 2013, http://www.unesco.org/new/en/jakarta/about-this- office/single-view/news/unesco_jakarta_marks_batik_day_by_wearing_batik_to_wor/. 7 Lautan indonesia, "Malingsia....oh Malingsia.... Eh Malaysia Deh...," Lautan Indonesia Adalah Forum Indonesia Dan Portal Indonesia, last modified June 6, 2016, http://www.lautanindonesia.com/forum/index.php?topic=41.5845;wap2. 8 "What is Batik?," The Batik Guild, accessed February 18, 2018, http://www.batikguild.org.uk/batik/what-is-batik. 9 Winoto Sastro, "What is Batik: Batik Winotosastro: History of Batik," last modified 2010, http://www.winotosastro.com/batik/whatisbatik.html

2 different from traditional and formal styles. For example, the artist can use etching, staining, stencil, different tools for waxing and dyeing, prescribing candles with different resistant grades and working with , , wool, leather, paper or even wood and ceramics. Batik is historically the most expressive and refined of the resist method.10 The widening techniques available offer an opportunity for artists to explore unique processes in a flexible and interesting way. Batik based on KBBI (Kamus Besar Bahasa Indonesia), batik refers to a noun. What it meant here is batik cloth or batik clothes that have been painted.11 Although what is meant by definition is a batik that uses , but the method of making batik itself there are several, such as stamp, print, and printing. There are also batik made using ‘bung’ brush, painting batik name, but quite rare.12 All will be discussed later in the second part. If we explore meaningfully, batik it is a technique to maintain color on a cloth by using a candle or wax. 13 Batik has existed in Indonesian society since the mid-18th century. Especially in Java, and has even been a hereditary cultural heritage. Batik crafts are related to the cultural identity of the Indonesian people, through symbolic meanings of colors and designs that express their creativity and spirituality.14 Rasa Sayange is a song from Ambon, Maluku and this song is native to Maluku. Lagu Rasa Sayange is a song that is usually sung by children throughout Indonesia not only in Maluku. The song Rasa Sayange includes songs from generations of the Moluccas, they used to sing this song to express their love for the environment and socialization among the community. If we enjoy and listen to this song, this song is not like an ordinary song but the song Rasa Sayange is like a poem or poem that is shouting. The song Rasa Sayange belongs to the original Indonesian originating from the Ambon area, this Moluccas had been claimed by neighboring countries namely

10 The Jakarta Post, "Batik Madura, Uniquely Crafted by Women," The Jakarta Post, last modified May 6, 2013, https://www.thejakartapost.com/news/2013/05/06/batik-madura-uniquely-crafted- women.html. 11 Atmojo and Heriyanto, Batik tulis tradisional Kauman, Solo: pesona budaya nan eksotik (Solo: Tiga Serangkai, 2008) 12 Tribun News, "Ketua Yayasan Batik Indonesia Puji Konsep Segar Pesta Batik Indonesia 2017," Tribunnews.com, last modified October 1, 2017, http://www.tribunnews.com/lifestyle/2017/10/01/ketua-yayasan-batik-indonesia-puji-konsep-segar- pesta-batik-indonesia-2017. 13 Ibid. 14 Sita Pieris and Ellen M. Raven, Abia South and Southeast Asian Art and Archaeology Index: (new york2011).

3 Malaysia.15 Malaysia considers this song to be their country's song. He claimed that this Indonesian folk song by Malaysia originated from the use of the Rasa Sayange song in promoting Malaysian tourism, and the Malaysian Minister of Tourism Adnan Tengku Mansor also said in 2007 that the Indonesian Rasa Sayange song was the archipelago song (Malay archipelago). 16 But Maluku governor Karel Albert strongly opposed the Tourism Minister's statement, Karel Albert said that the Rasa Sayange song was originally owned by Indonesia because the song had become a folk song that had been cultured in Maluku province since its ancestors, so Malaysia claims that the song belongs to the country it's a big mistake. But just saying that is not enough to prove that the song Rasa Sayange is an Indonesian song. And the Maluku governor also saw authentic evidence that the song Rasa Sayange was the original song of the Indonesian people, and after gathering the evidence the Governor of Maluku gave all the evidence to the Malaysian Minister of Culture and Tourism namely Adnan Tengku Mansor, the Malaysian Minister said that Indonesia cannot prove only with such evidence. But the Indonesian government did not stop there. The Governor of Maluku finally found strong evidence to prove to the Malaysian side, namely the song Rasa Sayange was known to be recorded first by a record company in Lokananta Solo in 1962. And finally the Indonesian government's efforts were not in vain on 11 November 2007, Minister of Culture, Arts, and Malaysia's Cultural Heritage, Rais Yatim, admitted that the song Rasa Sayange is an Indonesian song.17 So this Indonesian Rasa Sayange song has been claimed by Malaysia because Malaysia had used this song to promote their tourism, but it did not just accept Indonesia. The Indonesian government immediately gathered strong evidence to the Malaysian side, and finally the Malaysian government acknowledged that the song Rasa Sayange is an Indonesian native song originating from Ambon, Maluku. One country that is rich in culture is Indonesia, Indonesia has a lot of culture from languages, dance songs and much more. And we as

15 Wulan A. Purnamasari, "PENYELESAIAN SENGKETA PERSELISIHAN TRADISIONAL DAN EKSPRESI BUDAYA ANTAR NEGARA: SENGKETA LAGU RASA SAYANGE NEGARA INDONESIA DAN NEGARA MALAYSIA," Jurnal Hukum & Pembangunan 45, no. 4 (2015): doi:10.21143/jhp.vol45.no4.58. 16 Ibid. 17 W. Chong, "“Mine, Yours or Ours?”:The Indonesia-Malaysia Disputes over Shared Cultural Heritage," Journal of Social Issues in 27, no. 1 (2012): accessed February 14, 2018, doi:10.1355/sj27-1a. 4 Indonesian citizens must always take care of these Indonesian cultures, the way is by always boasting Indonesian cultures, preserving them, and always bringing the good name of Indonesian culture to the eyes of the world. Do not give the slightest opportunity to other countries who want to master and recognize Indonesian culture. After failing to claim the Rasa Sayange song, Malaysia tried to claim another art. Is folk art: Ponorogo which Malaysia claims is their art. The Kulit art that they claim is not renamed, Reog, maybe because there is an attachment to the name Ponorogo area, the name is changed to Barongan Dance. Though Reog's form is not a dragon like the Lion Dance but a form of a tiger and a peacock. Malaysia is confused to find a new name so that it can be easy, Barongan dance.18 Not only that, the story behind the dance was changed. Just like they changed the lyrics of the song Rasa Sayange. If only they included information from where the dance came from, no one would protest. The diversity of patterns of archipelago batik reflects a variety of influences, ranging from calligraphy, European floral arrangements, Chinese phoenix, Japanese cherry blossoms and Indian or Persian peacocks. Although batik originates from Javanese , several other regions in Indonesia also have batik in their own style of batik. Since becoming a member of UNESCO, Indonesia seeks to take an active role in UNESCO in accordance with Indonesia's national interests and goals. UNESCO as a UN specialized agency is seen in line with the national interest, especially in creating world peace and promoting the common good through the development and cooperation of education, science, culture, and communication and information. 19 Relation between Indonesia and UNESCO is a multilateral cooperation. A mutually beneficial relationship also occurs between Indonesia and UNESCO. Some of Indonesia cultural heritage already recognized and already confirmed through the organization of UNESCO. Among others, there are batik, angklung, reog ponorogo, , dance, and other Indonesian cultural heritage. 1.2 Problem Identification

18 Jinn W. Chong, "“Mine, Yours or Ours?”:The Indonesia-Malaysia Disputes over Shared Cultural Heritage," Journal of Social Issues in Southeast Asia 27, no. 1 (2012): accessed February 14, 2018, doi:10.1355/sj27-1a. 19 Ibid.

5 Historically, Indonesia has the same family with Malaysia as Malay. So do not be surprised if Indonesia has language, religion, clumps that are said not so much difference.20 Malaysia also assumes that because Indonesia and Malaysia are the same family, the culture and most things that Indonesia owns also belong to Malaysia. So a lot of cases of cultural claims that made Malaysia against Indonesia. One of them is batik. The dispute between Indonesia and Malaysia has indeed occurred in the last few days, starting with the border dispute of the State either directly adjacent to the land routes as happened on the island of and adjacent to the waterways as in the feud in the Ambalat region.21 Not only there, there are many more feud between Indonesia and Malaysia, especially those that harm the State of Indonesia However, the more disheartening dispute of Indonesian society in general is about the claiming of some arts originating from Indonesia, which claimed by the State of Malaysia as an arts originating from their country. As is known, batik is an art that comes from the State of Indonesia. This can be seen from the history of batik development in Indonesia, where batik began to develop in the time of the ancestors of Indonesia, known since the XVII century written and painted on palm leaves.22 The history of batik in Indonesia is related to the development of kingdom and the subsequent kingdom. In some notes, batik development is mostly done during the reign of Mataram, then in the kingdom of Solo and Yogyakarta.23 It must be admitted that history alone is not enough to make batik as an art that comes from Indonesia. It needs recognition from the international world that stipulates that batik is an art that comes from Indonesia.

20 Ahmad Nizar Yaakub, "Indonesia-Malaysia Relations," 2014, accessed February 19, 2018, doi:10.4324/9781315815879.5 21 Stratfor, "Indonesia and Malaysia: Border Disputes and Emerging Trends," Stratfor, last modified March 11, 2005, https://worldview.stratfor.com/article/indonesia-and-malaysia-border-disputes-and- emerging-trends. 22 Michael Hitchcock and Wiendu Nuryanti, Building on Batik: The Globalization of a Craft Community (London, England: Routledge, 2016) 23 Fact of indonesia, "The History of Batik Indonesia," Facts of Indonesia, last modified May 19, 2017, https://factsofindonesia.com/history-of-batik-indonesia.

6 This is what Malaysia is trying to use to make batik as an art that comes from Malaysia, by making batik art as their country identity, whose goal is to attract the world community to visit Malaysia.24 Seeing not only the arts of batik that began in the claim by the State of Malaysia, the people of Indonesia, especially local artists began to urge the Indonesian government to make all the arts, especially batik as the original art that originated from Indonesia by registering batik art to UNESCO.25 The weakness of Indonesian people knowledge about batik, it takes opportunities to Malaysia to try to take batik from Indonesia.26 The condition of the domestic community that gives less appreciation of batik is inversely proportional to the people of Malaysia. This indicated by official or artists as public figures themselves are reluctant to wear batik, and if wearing is not necessarily the original batik. So our personality in appreciating the weak cultural heritage is support by the government that gave less attention in particular.27 Batik is not a mere cultural product but capable of generating economic value. If this great potential can be capitalized, it is certain that the economic value that can be achieved is very large. With the momentum of batik recognition by the world can bring the people of Indonesia to achieve the greatest financial benefits, of course for the welfare of the people.28 The government should issue policies concerning efforts to achieve economic benefits. Such recognition will be meaningless if its economic benefits are achieved by other nations with all creative excellence, global competitiveness, and capital strength. Conditions that occur alongside the famous batik it is so easy to find batik clothing in the local market. The product is not necessarily homemade, but imported goods from countries that produce easily and quickly and cheaply, such as China.29 That way, they have a high competitiveness to break into various markets around the world, including our markets. Trade politics are often saggy when entering the global battle arena.

24 Nick Collins, "Indonesians Tell Malaysians 'Hands off Our Batik'," Telegraph.co.uk, last modified October 5, 2009, https://www.telegraph.co.uk/expat/expatnews/6251806/Indonesians-tell-Malaysians- Hands-off-our-batik.html. 25 Chandra Endoputro, "Indonesian Batik, A Living Art - Local Tradition, National Pride," UNESCO Multimedia Archives, last modified February 28, 2018, http://www.unesco.org/archives/multimedia/?pg=33&s=films_details&id=372. 26 Marshall Clark and Juliet Pietsch, Indonesia-Malaysia Relations: Cultural Heritage, Politics and Labour Migration (London, England: Routledge, 2014) 27 Ibid. 28 Fact of Indonesia, "5 Unique Types of Batik Techniques," Facts of Indonesia, last modified December 6, 2017, https://factsofindonesia.com/types-of-batik-techniques. 29 Ibid.

7 Not only in the international arena, but our trade politics must also be strong in defending the interests of national industry in the domestic market. What the businessmen of the industry and textile products complain about the invasion of foreign products entering the ransom of the domestic market.30 They often criticize the absence of protection of the domestic market and industry. Imported goods, including illegal ones, are so easy to invade, weaken even threated national textile industries.

1.3 Statement of the Problem

Topic This research has a topic that will focus in trying to find the effort Indonesia in winning batik back which in 2008 claim by Malaysia through UNESCO as the intangible cultural heritage.

Research Question How did Indonesia conduct its cultural diplomacy through UNESCO in winning Batik as the intangible cultural heritage?

1.4 Research Objectives

Referring to the Statement of the Problem above, the objectives this thesis or research are: To identify the challenges faced by Indonesia in winning batik that had been claimed by Malaysia through UNESCO. To know what efforts Indonesia’s made in reclaiming batik when batik is claimed by Malaysia through UNESCO.

1.5 Significance of the Study

30 D.O. Arubayi, "Home Economics Students’ Satisfaction or Dissatisfaction with Learning Experiences in Clothing and in Tertiary Institutions," Studies on Home and Community Science 3, no. 2 (2009): doi:10.1080/09737189.2009.11885281.

8

The significance of the study regarding the topic mention above are: 1. To understand in depth about the efforts Indonesia made in winning batik through UNESCO. 2. To contribute to another research regarding Indonesia cultural diplomacy in winning batik through UNESCO.

1.6 Conceptual Framework

In making this research or thesis, the writer use one model of diplomacy theory, which is cultural diplomacy31. Cultural diplomacy is chosen as one means to mobilize such public opinion. Imperialism culture is efforts to conquer and control the human soul as well as an instrument to change the power between the two countries. The means of cultural diplomacy are all kinds of communication tools, both electronic and print media, which are considered able to convey the content or mission of certain foreign policy. The material and content of cultural diplomacy is technology. Milton C. Cummings states that cultural diplomacy is an exchange of ideas, information, values, systems, traditions, beliefs, and other cultural aspects with a common sense of mutual understanding and mutual respect. Cultural diplomacy belongs to soft power as a political force influenced by culture, values, ideas as the other side of hard power that uses military force. Cultural diplomacy can be approves by government or non-government, individual or collective. So the pattern of cultural diplomacy between nations can occur between anyone as an actor or the culprit, because the target of cultural diplomacy is the whole society of a State, not just the government alone. The main purpose of cultural diplomacy is to influence the public opinion of a State in an effort to support a particular foreign policy, to achieve it national interest. The common pattern that usually occurs in the relationship of cultural diplomacy is between the people of a particular State and the people of other countries. However,

31 Mark C. Donfried and Jessica C. E. Gienow Hecht, Searching for a Cultural Diplomacy (New York: Berghahn Books, 2013), pdf , page 14-25.

9 the general opinion referred to in this regard is to influence the political government of the community concerned. The main target of cultural diplomacy is public opinion, both national and international. Society is formed through a long history, winding trips, site after foot, even with trial and error. At certain points there are relics that exist or are recorded until now which later became cultural heritage. Cultural heritage is defined as a product or outcome Physical culture of different traditions and spiritual achievements in the form of values from the past which are the main elements in the identity of a group or nation. From this idea, cultural heritage is a tangible and cultural value (intangible) from the past. The cultural values of the intangible heritage originating from local cultures in the archipelago include: traditions, folklore and legends, oral history, creativity (dance, songs, drama shows), adaptability and the uniqueness of the local community. The word local culture refers to indigenous cultures that have been seen as cultural heritage. In Indonesia the existing cultural heritage is shared property, in contrast to and America, where the cultural heritage belongs exclusively to the indigenous people so that the indigenous people have the right to prohibit any utilization activities that will adversely affect their cultural heritage. Physical cultural heritage is often classified as inheritance immovable culture and moving cultural heritage. The immovable cultural heritage is usually in an open place and consists of: sites, historical sites, land and water landscapes, ancient buildings and / or historic statues of heroes. Moving cultural heritage is usually indoors and consists of: cultural heritage objects, artwork, archives, documents, and photographs, printed , audiovisuals in the form of tapes, videos and films. The World Heritage Convention divides physical cultural heritage into 3 categories, namely monuments, building groups, and sites. Material cultural heritage in the form of Cultural Heritage Objects, Buildings

10 Cultural Heritage, Cultural Heritage Structures, Cultural Heritage Sites, and Cultural Heritage Areas on land and / or in water that need to be preserved because they have important values for history, science, education, religion, and / or culture through the establishment process. Monuments are monumental architectural, sculpture and painting works, archeological elements or structures, inscriptions, cave dwellings, and combinations of these features that have important values for history, culture and science. What is mean by a building group is a separate or related group of buildings due to its architecture its homogeneity or its position in the landscape has important values for history, culture and science. What is meant by a site is the result of human work or a combination of human and natural work, a region that includes locations containing archaeological remains that have important values for history, aesthetics, ethnography or Anthropology. Cultural heritage objects and sites are studied specifically in archeological disciplines that seek to reveal human life in the past through objects left behind. This is different from historical disciplines that attempt to reveal human life in the past through written evidence left behind.

1.7 Scope and Limitation of the Study

To make sure the research or thesis will not become too board of a topic, the researcher has decided the scope and limitation of the study for the research or thesis as what has been written below 1. This research or thesis will limit the study on how Indonesia done to winning the batik through UNESCO. 2. This research or thesis has a scope the challenge of Indonesia to winning batik through UNESCO.

11 1.8 Thesis Outline

Chapter I – Introduction

Chapter I of this thesis will introduce the reader to the background of the problem. The chapter I will show the background of the problem and trying to identify it and in chapter I also the Statement of Problem, which consist of the topic and research question, will be shown. Other then that, this chapter shows the objectives, significances of study, scope and limitation for the thesis or research and what kind of concept or model that is used as the base of the framework for this thesis or research.

Chapter II – Literature Review

Chapter II will show the reader how about the reviews of the literature that gives information for the researcher in doing his or her thesis or research. T=the chapter will be shows reviews of books, journals, and working papers which are use.

Chapter III – Research Methodology

In chapter III, there will be the information about the kind of research method that is used and also the research framework of the thesis. The information that will be also include in chapter III is about the information about time, place and instrument used for the research or thesis.

Chapter IV – Indonesia Cultural Diplomacy and UNESCO

This part of the thesis will be discussing about a deeper about what is Indonesia cultural heritage and introduction about UNESCO. This chapter will introduce us to the Indonesia intangible cultural heritage. Chapter IV also will give information about Indonesia diplomacy with UNESCO.

12 Chapter V – Process and Challenges of Indonesia in Winning Batik as Intangible Cultural Heritage

Chapter V of this research or thesis will be about the challenge of Indonesia in winning batik as intangible cultural heritage. This chapter will be discuss about how Indonesia winning batik through UNESCO.

Chapter VI – Conclusion

As any other researches, the last part of the research will be the conclusion about the research or the thesis.

1.9 Definition of Terms This research or thesis will be titled “Indonesian Cultural Diplomacy Through UNESCO in Winning Batik as The Intangible Cultural Heritage (2008)”. There are several keywords that will be used often in the research or thesis. Those keywords are:

1. Culture: culture is cultivated behavior which is gained by the knowledge, experience, value, attitude, motives, and so on that becomes a way of life of a group or people.32 2. Diplomacy: “Diplomacy is the management of international relations by means of negotiations; the method by which these relations are adjusted and managed by ambassadors and envoys the business or art of the diplomats”33

CHAPTER II

LITERATURE REVIEW

32 IGI Global, "What is Culture | IGI Global," IGI Global: International Publisher of Information Science and Technology Research, last modified April 14, 2008, https://www.igi- global.com/dictionary/rationale-and-risk-considerations/6442. 33 Your Article Library, "Diplomacy: Meaning, Nature, Functions and Role in Crisis Management," Your Article Library, last modified April 7, 2015, http://www.yourarticlelibrary.com/international- politics/diplomacy-meaning-nature-functions-and-role-in-crisis-management/48491.

13

II.1 Background

This chapter is going to have reviews on literatures used by the researcher as its contents in other words, the researcher will talk about the main point of the literatures that have given a contribution to this research and also hopefully given a contribution for the international relations studies. There are seven literatures in total which are mostly used by the researcher in doing his or her research or thesis There are three books, three journals and one working paper that will be reviewed in this chapter These literatures, of course, are discussing the efforts of Indonesia to winning batik and also the literatures contain the information about things that may hinder this try not only that, but the literature also provide information about things happened before Indonesia have to winning batik as intangible cultural heritage through UNESCO.

14 II.2. Review of the Literature II.2.1. Books 1. Indonesia-Malaysia Relations: Cultural Heritage, Politics and Economy. (Page 84-87)34 By: Marshall Clark, Juliet Pietsch.

This book is talking about how relation Indonesia and Malaysia as neighboring countries, there are several similarities from Indonesia and Malaysia. In this book, Indonesia and Malaysia have also been clashing each other because in 2008 Malaysia claimed batik as their cultural heritage, but Indonesia does not accept because Indonesia claimed that batik is owned by Indonesia. The writer said that, Indonesia did various ways to win batik back, including registering batik as a cultural heritage of Indonesia. Indonesian Batik finally officially included in 76 intangible cultural heritage by UNESCO. The putting Indonesian batik in the List of Culture of Inheritance of Human Heritage by the United Nations Educational, Scientific and Cultural Organization (UNESCO) was announced in a press release at UNESCO's portal on September 30th. Batik became part of 76 arts and traditions from 27 countries recognized by UNESCO in the list of non- object cultural heritage through the decision of the 24 members committee convened in Abu Dhabi, United Arab Emirates. In this book also explain too many difficulties Indonesia to winning batik back from Malaysia, as we know, Malaysia often claimed culture heritage from Indonesia as the one of their cultural heritage. In this book also explain war Indonesia and Malaysia has been from a long time ago, not only batik was claimed by Malaysia, but other cultural from Indonesia was claimed by Malaysia. That is, Reog Ponorogo, , Keris, Angklung, and many more.

2. ICoIS 2014: Proceedings of the 2nd International Conference on

34 Marshall Alexander Clark and Juliet Pietsch, Indonesia-Malaysia Relations: Cultural Heritage, Politics and Economy (2016).

15 Sustainable Innovation.35 Page (388-390) By: Romandoni Syahputra and Indah Soesanti

The book is talking about sustainable innovation, but in page 388-390 in this book explain how Indonesia stand for batik and what efforts do Indonesia to win batik back. In this book said that when 2008 Malaysia was claimed batik as the one of intangible cultural heritage of Malaysia. In this page also said that UNESCO has set Indonesian batik as Masterpiece of Oral and intangible heritage. See a new society can appreciate when the culture of local wisdom is almost annexed countryside. The claim event has a positive impact for the development of batik, especially stage Indonesia. Clothing smells of batik is now more diverse when Malaysia throws the issue of batik. In this book also explain what Indonesia did when batik was claim by Malaysia. The writer also write about the case of cultural claims made by Malaysia to Indonesia is already much and often. Many cases, in fact most of them trigger bilateral tensions between the two countries which resulted in the outrage of Indonesians in the offline and online world, in their online world of frequent oral war and cyber wars, while in the offline In this book also explains how the Indonesian effort to win batik back by registering batik as one of the cultural heritage of Indonesia which at that time was not easily obtained directly by Indonesia through a long process. But in the end, Indonesia winning batik back at 2 October 2009.

3. Review of Indonesian and Malaysian Affairs, Volume 3136 (page 97) By: Rima Schaloth.

In this page, the writer explain about what happened in 2008 when Malaysia was claimed batik as the cultural heritage from Malaysia. In this book explain too about how Malaysia and Indonesia was talking about why Malaysia claimed batik that in the fact, batik is from Indonesia.

35 Romandoni Syahputra and Indah Soesanti, ICoIS 2014: Proceedings of the 2nd International Conference on Sustainable Innovation (Indonesia2014), page 388-390. 36 Schaloth, Rima. Review of Indonesian and Malaysian Affairs. Sydney: Copyright Agency, 2005.

16 The writer also write about the case of cultural claims made by Malaysia to Indonesia is already much and often. Many cases, in fact most of them trigger bilateral tensions between the two countries which resulted in the outrage of Indonesians in the offline and online world, in their online world of frequent oral war and cyber wars, while in the offline world there are those who propose to war only with Malaysia. In this page also said that UNESCO has set Indonesian batik as Masterpiece of Oral and intangible heritage. See a new society can appreciate when the culture of local wisdom is almost annexed countryside. The claim event has a positive impact for the development of batik, especially fashion stage Indonesia. Clothing smells of batik is now more diverse when Malaysia throws the issue of batik. In this book also explain what Indonesia did when batik was claim by Malaysia. The writer said that, Indonesia did various ways to win batik back, including registering batik as a cultural heritage of Indonesia. Indonesian Batik finally officially included in 76 intangible cultural heritage by UNESCO. The putting Indonesian batik in the List of Culture of Inheritance of Human Heritage by the United Nations Educational, Scientific and Cultural Organization (UNESCO) was announced in a press release at UNESCO's portal on September 30th. Batik became part of 76 arts and traditions from 27 countries recognized by UNESCO in the list of non- object cultural heritage through the decision of the 24 members committee convened in Abu Dhabi, United Arab Emirates. In this book also explain war Indonesia and Malaysia has been from a long time ago, not only batik was claimed by Malaysia, but other cultural from Indonesia was claimed by Malaysia. That is, Reog Ponorogo, Balinese dance, Keris, Angklung, and many more.

17 II.2.2. Journals and Papers

1. Score One for Indonesia in the War Over Batik37 By: Peter Gelling, 2009.

In this journal, Peter Gelling explain about how Indonesia and Malaysia was. For Indonesians, it is a point scored in a long running contention with their neighbor Malaysia. The Assembled Countries has chosen to perceive Indonesian batik as one of the world's imperative social conventions. In this journal was explain that the declaration on 2 October 2009, that the Unified Countries Instructive, Logical and Social Association would add batik to its Elusive Social Legacy list at a function toward the finish of this current month was particularly welcome. To observe, President has requested that all Indonesians wear batik on October 2 as a day of batik and to commemorate Indonesia's victory over batik. In this journal also explains about the fact the process of achieving recognition is not an easy thing. Originally the struggle began because of the resistance of Indonesia because it does not want to batik claimed by neighboring Malaysia. Therefore, since 2008, the Indonesian government has registered batik into the cultural representatives of UNESCO's human heritage objects or the List of Intangible Cultural Heritage UNESCO's List of Intangible Cultures. Then it was officially accepted by UNESCO on January 9, 2009 for processing. It was only on October 2, 2009 UNESCO admitted batik.

2. "Mine, Yours or Ours?”: The Indonesia-Malaysia Disputes over

37 Peter Gelling, "Score One for Indonesia in the War Over Batik," Malaysia VS Indonesia 31 (November 2009): , accessed February 21, 2018.

18 Shared Cultural Heritage38 By: Jinn Winn Chong

Jinn Winn Chong as the writer of this journal, he explained that because of the geographical location of the very close neighboring country which is became the cause of the same cultural number between Indonesia and Malaysia. In his journal, he also explained that at that time, the conflict between Indonesia is not only culture, but from various aspects. Such as when Malaysia and Indonesia fought over the island. One of the conversations is about Malaysia claiming batik is hers that eventually make Indonesia upset, because not once or twice Malaysia claims belong to Indonesia.

In his journal he also explained in the end Indonesia uses all means to win back batik. In the end Indonesia register batik as a cultural heritage of Indonesia, later on 2 October 2009, UNESCO set batik as cultural heritage from Indonesia.

II.2.3 Online News Portal Article

1. Indonesia and Malaysia Battle Over Batik39 By: Tasa Nurgraza Barley In this journal the writer explain about diplomatic relation between Indonesia and Malaysia was very dark, because of Malaysia often claim some culture from Indonesia, one of them is batik. The writer also wrote about how Indonesia started calling their neighborhood “maling-sia” meaning thief. It is little bit rude but Indonesia has to say that because of what Malaysia’s do to Indonesia. In this journal also explains about the effort that Indonesia do to win batik back. Such as at the time of October 24, 2008, batik lovers community made an action to make batik pattern in long design and drawn batik pattern

38 Jinn W. Chong, "“Mine, Yours or Ours?”:The Indonesia-Malaysia Disputes over Shared Cultural Heritage," Journal of Social Issues in Southeast Asia 27, no. 1 (2012): accessed February 14, 2018, doi:10.1355/sj27-1a. 39 Tasa Nurgaza Barley, "Indonesia and Malaysia Battle Over Batik," Jakarta Globe, October 2009, accessed February 22, 2018. 19 by 1500 elementary school students. The writer also tell us about Indonesia winning batik over Malaysia it was explained in the journal that on October 2, 2009, at that time was the moment where UNESCO announced that batik is a cultural heritage of Indonesia and has been recorded in the cultural heritage of UNESCO.

II.2.4. Working Paper 1. The Indonesia-Malaysia Contestation: A Critical Analysis of UNESCO Intangible Heritage Listing of Batik.40 By: Tracy Ireland & Marshall Clark In this working paper, Tracy Ireland and Marshall Clark explain about Indonesia and Malaysia have often claimed this two countries as ‘Blood Brothers’ anchored by the same racial and ethnic (Negara Serumpun). Therefore, there are many similarities between Indonesia and Malaysia among them are almost the same culture, similar language, such as Indonesian and Malay are almost the same. In this working paper also explains why Indonesia is seeking various ways to win batik again. Because it is too much culture and cultural heritage of Indonesia claimed by a country that is considered allied by Indonesia. Indonesia is trying to cultivate its cultural heritage from Malaysia by registering batik as intangible cultural heritage from Indonesia. In this working paper also explains about the fact the process of achieving recognition is not an easy thing. Originally the struggle began because of the resistance of Indonesia because it does not want to batik claimed by neighboring Malaysia. Therefore, since 2008, the Indonesian government has registered batik into the cultural representatives of UNESCO's human heritage objects or the List of Intangible Cultural Heritage UNESCO's List of Intangible Cultures. Then it was officially accepted by UNESCO on January 9, 2009 for processing. It was only on October 2, 2009 UNESCO admitted batik. II.2. Contribution to the Field of International Relations

40 Tracy Ireland and Marshall Clark, "The Indonesia-Malaysia Contestation: A Critical Analysis of UNESCO Intangible Heritage Listing of Batik," The Theoritation of Heritage Studies 1 (June 2012): accessed March 16, 2018.

20

For the researcher, the literatures used for this research or thesis are indeed giving a contribution to international relations study. It is true that in international world the main essence of all international activities is no other than the culture. The literature above also connected with the culture since the kind of winning batik issue is linked with the two countries.

21

CHAPTER III

RESEARCH METHODOLOGY

III.1 Research Methodology

Roger Pierce, in his book titled Research Methods in Politics: A practical guide, defines research as a systematic inquiry where the core activities are goal oriented, inquisitive and also original.41 In doing this research or thesis with the title "Indonesian Cultural Diplomacy Through UNESCO in Winning Batik as The Intangible Cultural Heritage (2008)", the research is using the qualitative research method. Greg Guest, Emily E. Namey and Marilyn L. Mitchell at their book named Collecting Qualitative Data: A Field Manual for Applied Research have given a lot of definition of qualitative research method from many scholars. In the book, Parkinson and Drislane define qualitative research as research that uses observation or case studies to result a descriptive and narrative practice.42 Meanwhile Denzin and Lincoln stated that qualitative research is an activity that tries to interpret things by using notes, conversations, interviews, recordings and things that are similar to it to bring the nature of those particular things to the world." To sum it all, the qualitative research method can be interpreted a research that using a qualitative data such as notes, conversations and so on in order to describe something that at the end will be resulted in a descriptive or narrative form. The researcher has determined to use this kind of research method since the research that is done by the researcher does not involved number to prove the idea or hypothesis that is being given by the research. Rather, the researcher use literatures in addressing the research which can be found from books, journals, working paper, and also papers.

41 Roger Pierce, Research Methods in Politics: A Practical Guide (London: SAGE, 2008), pg.3. 42 Greg Guest, Emily E. Namey, and Marilyn L. Mitchell, Collecting Qualitative Data A Field Manual for Applied Research (Thousand Oaks: SAGE Publications, 2013).

22 III.2 Research Framework

Cultural Diplomacy

UNESCO

Culture

Diplomacy

Diagram 3.1 – Research Framework

This figure above is the research framework that will be used for the research. The figure is trying to show the relation vertically. Since we are living now in a world together with other countries, a good relation is needed to keep the world in harmony. This is in line with the cultural diplomacy theory that supports international cooperation in international relations. The cooperation is staring from the international cooperation, which involves many countries from different area of the world. But in living in now day world, the cooperation that is needed not only in a level of international but also the regional cooperation. One of the example of regional cooperation is United Nation Educational Scientific and Cultural Organization (UNESCO).

23 III.3 Research Time and Place

For this research or thesis that focuses on determining the challenges faces by Indonesia wining batik Through UNESCO it takes framework from 2008-2009. For the thesis or research duration itself, it takes four months, from January – April 2018, for the researcher to conduct an analysis. There are several reasons of why the researcher pick year 2008 – 2009 is the time of the framework for the researcher or thesis. The first reason is the researcher wants to focus on Malaysia claimed Indonesian batik in 2008. Indonesia trying to win batik by registering batik as Indonesian cultural heritage.43 Second reason is how Indonesia try to winning batik by registration batik to UNESCO. On January 9, 2009 was officially accepted by UNESCO for the process. 44 2 October 2009, UNESCO recognized batik as Indonesian cultural heritage. to recognize Indonesia's victory over batik, on October 2 set by president Susilo Bambang Yudhoyono as national batik day.45

43 JawaPos.com, "Sejarah Batik: Diklaim Malaysia Hingga Diakui Unesco," Berita Terkini Di Indonesia Dan Dunia | JawaPos.com - Selalu Ada Yang Baru, last modified April 15, 2015, https://www.jawapos.com/read/2017/10/02/160331/sejarah-batik-diklaim-malaysia-hingga-diakui- unesco. 44 Ibid. 45 ibid.

24 III.4. Research Instruments

This part of chapter will discuss about what instrument that the researcher used in doing the research and the procedure of it.

a. Journals, Reports and Working Paper During the research, the researcher used many journals and reports for the research. The reports that are used by the researcher are not only the report that has a relation with the cause of the haze but also the report about the medical thing that becomes an impact due to the haze. For the journal, the researcher read a lot of journal that has contributed for the researcher itself, not only in terms of information but also way of thought. b. Internet In this era, technology has become so advantageous for people both in social life and academic life. The researcher mostly spends the time in doing his or her research by finding the information from internet. The researcher finds many literatures from the internet by accessing free online library. The researcher thank those who found the internet for their findings, this thesis has become easier to be done. c. Books It is no doubt that books contain a lot of information that the internet may not have and the internet may not publicize without buying it online. For the books that are used for the research, the researcher went to the library to spend time reading the books and borrowing it. Since the book is in a printed version, it is easier to use since we can mark a write things beside the information. d. Media articles For the media articles, the researcher read mostly articles from the news agency to obtain data for supporting the research The media articles give a lot of help since it records news from the past and also always updates the news in the present time.

25 CHAPTER IV

THE RELATION BETWEEN BATIK AS INTANGIBLE CULTURAL HERITAGE AND UNESCO

IV.1. The Philosophy and The Definition of Batik

Batik has existed in Indonesian society since the mid-18th century, especially in Java, and has even been a hereditary cultural heritage. Batik crafts are related to the cultural identity of the Indonesian people, through symbolic meanings of colors and designs that express their creativity and spirituality.46 Although batik originates from Javanese palaces, several other regions in Indonesia also have batik in their own style of batik. At present there are 23 provinces in Indonesia that have their own patterns such as those from , and Papua. In fact, this Batik Fabric is also widely used in neighboring countries such as Malaysia, and . The history of batik in Indonesia is closely related to the development of the Majapahit Kingdom and the spread of in Java many years ago. The art of batik has been carried out since the days of the Mataram Sultanate and continues and spreads to almost the entire archipelago.47 Batik technique itself actually does not originate from Indonesia, this technique has been known more than 1,000 years ago. Batik painted was first known in the ancient Egyptians or Sumerians. 48 But when this technique entered the territory of Indonesia, ancient Indonesian people began to make distinctive patterns that reflect the typical of the royal territory they occupy. Batik is a craft that has high artistic value and has been a part of Indonesian culture (especially Java) since a long time.49 Batik initially done only limited in the alone and the results for the king's clothes and family.

46 Fiona Kerlogue and Fulvio Zanettini, Batik: Design, Style & History (2004) 47 Ibid. 48 Museum Volunteers, "Articles – Page 6 – Museum Volunteers, JMM," Museum Volunteers, JMM – Taking the Mystery out of History, accessed March 7, 2019, https://museumvolunteersjmm.com/category/articles/page/6/. 49 Jeffrey Hays, "BATIK AND INDONESIAN TEXTILES | Facts and Details," Home | Facts and Details, accessed April 10, 2018, http://factsanddetails.com/indonesia/Arts_Culture_Media_Sports/sub6_4b/entry-4050.html.

26 Because many of the followers of kings who live outside the palace, then this batik art brought by them out of the palace and done in their place.50 Javanese women in the past made their skills in batik as a livelihood, so in the past batik work was the exclusive work of women until the discovery of "Batik Cap" which enabled men to enter into this field. Batik tradition at first is a tradition that hereditary, so sometimes a motif can be recognized from certain family batik.51 Some batik may indicate the status of a person. Even today, some traditional classical batik motifs are only used by the royal family of Yogyakarta and . In ancient times, batik motifs or patterns are still dominated by the shape of animals and plants. However, in the history of development batik experienced the development, that is from the painting patterns of animals and plants gradually move on abstract motifs that resemble clouds, reliefs of temples, wayang beber. Furthermore, through the merger of paintings with the art of decorating clothes, came the art of ‘batik tulis’ as we know it today.52 Batik is not just a painting that is inscribed on the fabric by using canting (a tool for batik that contains the night or candle). 53 Many traces can be extracted from a batik cloth. Because the motif is inscribed on a piece of batik cloth always has a hidden meaning. The type and style of traditional batik is very much, but the pattern and its variation in accordance with the philosophy and culture of each region. Initially the history of batik only became a culture for the royal family in Indonesia. Clothing that uses limited batik motifs can only be used in the palace and batik is produced only for the clothes of the king and the royal family and respectable dignitaries. But because a lot of dignitaries live outside the palace area, so finally this batik art begins to be followed by ordinary people and is produced locally in their respective places with distinctive features of each region of the archipelago. In the past, Batik was painted using hands on cloth. In addition, the process of

50 Indonesiacalling, "BATIK INDONESIA," Indonesia Calling, last modified April 27, 2017, http://indonesiacalling.com/batik-indonesia/. 51 Fact of Indonesia, "Javanese Batik Fabric - Culture - Tradition - Types," Facts of Indonesia, last modified May 30, 2017, https://factsofindonesia.com/javanese-batik-fabric. 52 Sahabatnesia, "50 Motif Batik Modern Yang Terkenal [Model Sederhana]," Sahabatnesia, last modified October/November 9, 2016, https://sahabatnesia.com/macam-macam-motif-batik- nusantara/. 53 Ibid. 27 making batik always starts with the letter "N" in Javanese.54 The processes starts from:  Nyungging (Make patterns of batik motifs on paper)  Njaplak (Move the pattern from paper to cloth)  Nglowong (Attach the hot wax to the fabric with canting according to the pattern line)  Ngiseni (Giving a motif of filling or isen-isen to the motif that has been attached to the hot wax)  Nyolet (Coloring flowers or birds with brushes)  Nopok (Closing the part that is dyed by hot wax) which is accompanied by the ‘Nembok’ step and close the bottom of the fabric that does not need to be colored)  Nyelir (Carrying out the coloring process thoroughly)  Nglorod (Is a process of rinsing which is carried out in two stages, namely in the middle and end by soaking the cloth in boiling water)  Ngerentesi (Giving a point using thin canting)  Nyumri (Closes certain parts with hot wax)  Nyoja (Dipping the cloth in brown coloring) Now day, the way of making batik is to write, stamp, and print. Batik has the most expensive price, because the manufactured process is manual and requires a longer time.55 While stamp batik uses iron that has been patterned batik, then dipped into the night. While batik printing is the cheapest batik motif, because it uses screen printer print techniques.

54 Teknokompas, "• Nyungging (Make Patterns of Batik Motifs on Paper) • Njaplak (Move the Pattern from Paper to Cloth) • Nglowong] Search," Google, last modified May 4, 2013, https://tekno.kompas.com/read/2011/01/14/16294448/12.langkah.menciptakan.kain.batik. 55 The Indonesia Reader, "The Web of Batik," The Indonesia Reader, 2009, doi:10.1215/9780822392279-019. 28 IV.1.1 Types of Batik

There are 4 types of batik based on the way of making are written batik, stamped batik, painted batik and printing batik.56 The four are distinguished based on the process of making it through writing, stamp / painting, painting and machine assistance / screen printing.

IV.1.1.1 Handmade batik (batik tulis)

Figure IV.1 Written batik process57

Written batik is a type of batik made by writing techniques. Writing technique is an original technique in batik.58 The work of written batik does require a long time because it requires precision and patience too. The main tool for making batik is canting. Its function is to make batik patterns. The results of written batik will vary depending on the batik. Everyone can have the characteristics and characteristics of each batik motif.

56 Living in Indonesia, "Batik, the Traditional Fabric of Indonesia," Living in Indonesia - A Site for Expatriates in Indonesia, last modified March 5, 2015, http://www.expat.or.id/info/batik.html. 57 The Batik Guild, "What is Batik?," The Batik Guild, accessed May 18, 2019, https://www.batikguild.org.uk/batik/what-is-batik. 58 Ibid. 29

IV.1.1.2 Stamped Batik

Figure IV.2 Stamped Batik Process59

Stamp batik is a type of batik whose batik process uses stamp techniques. Compared to writing techniques, stamp batik does not require too long process it can take only 2-3 days.60 This method also does not use canting like batik. The stamp batik method uses a stamp or stamp to make batik motifs. In stamp batik, fine motif lines are usually wider and the surface is more shiny. But the batik motifs are rather stiff because they are almost the same among ornaments.

IV.1.1.3 Batik Painting

Figure IV.3 Batik painting61

Batik painting is one type of batik that is made by painting. The technique is done by directly painting batik on a white cloth. At first glance this

59 "Proses Pengerjaan Rumit Dan Memakan Waktu Lama, Batik Tulis Sebaiknya Tak Dipotong," Tribun Travel, last modified October 2, 2017, http://travel.tribunnews.com/2017/10/02/proses- pengerjaan-rumit-dan-memakan-waktu-lama-batik-tulis-sebaiknya-tak-dipotong. 60 Ibid. 61 Dian Kurniawan, "Batik Lukis Ponorogo, Tanpa Canting Dan Malam," Liputan6.com, last modified November 2, 2017, https://www.liputan6.com/regional/read/3148281/batik-lukis-ponorogo-tanpa- canting-dan-malam.

30 technique is similar to written batik but the manufacturing process is not as long as batik. Batik painting techniques require creativity from the painter. This batik painting technique is indeed quite complex and requires precision in the process of making it.62 What is used to make batik painting is a painting tool.

IV.1.1.4 Printing Batik

Figure IV.4 Printing batik process63

The next type of batik is machine batik or also called printing batik. Batik machine or printing is the cheapest technique. The manufacturing process is also the fastest because it uses machine assistance. The printing technique uses a printing system so it doesn't use canting or stamp / stamp. The manufacturing process starts from selecting a motif, then printing it into a film and printing it on a cloth so that the process is classified as fast and efficient.64

IV.1.2 Batik motifs IV.1.2.1 Geometric motifs

Figure IV.1 Geometric motifs batik65

62 Dian Kurniawan, "Batik Lukis Ponorogo, Tanpa Canting Dan Malam," Liputan6.com, last modified November 2, 2017, https://www.liputan6.com/regional/read/3148281/batik-lukis-ponorogo-tanpa- canting-dan-malam. 63 Didik Riyanto, Proses batik: batik tulis, batik cap, batik printing, dari awal persiapan bahan dan alat, mendesign corak sampai finishing (1993). 64 Ibid. 65 Infobatik.com, "Motif Batik Geometris," Informasi Batik Indonesia, last modified November 30, 2017, https://infobatik.id/motif-batik-geometris/. 31

Geometric motifs are batik motifs whose ornaments is geometric arrangement. The characteristic of this geometric decoration is that the motif is easily divided into parts called a "report card".66 This geometric group basically can be divided into two kinds, are: A. Report is shaped like ordinary geometry, such as rectangular shapes, rectangles or circles. The batik motif which has a rectangular report card is the Banji group, Ceplok, Ganggang, Kawung. B. The report cards are arranged in slashes, so the report cards are shaped like a rhombus. Examples of this motif are the class of machete and lyrical motifs.

IV.1.2.2 Non Geometric Motifs

Figure IV.2 Non Geometric motif batik67

Non-Geometric motif is batik motif that not geometric. Included in this motif are the motives of Semen, Buketan, Terang Bulan. Non geometric group motifs are composed of plant ornaments, Meru, Hayat Tree, Temple, Animals, Birds, , Dragons in an irregular arrangement according to geometric fields even though in a broad field there will be repeated repetitions of these batik motifs.68

66 Infobatik.com, "Motif Batik Geometris," Informasi Batik Indonesia, last modified November 30, 2017, https://infobatik.id/motif-batik-geometris/. 67 Bahankaib.com, "Image: Penggolongan Motif Batik : Motif Geometris & Non Geometris ..," accessed March 9, 2019, https://goo.gl/images/HoL8XD. 68 Infobatik.com, "Motif Batik Non Geometris," Informasi Batik Indonesia, last modified November 30, 2017, https://infobatik.id/motif-batik-non-geometris/. 32

IV.1.2.3 Figurative motifs

Figure IV.3 Figurative batik motif69

Figurative motifs describe objects in accordance with the original, such as flowers, fish, fruit, animals and others figure.70 The arrangement of figurative motifs generally also considers space or near distance, colors are made to resemble the original and others. This motif is widely used in modern batik and batik outside Java.

IV.1.2.4 Semi Figurative Motif

Figure IV.4 Semi figurative batik motif71

If the figurative motives of the objects depicted are still visible, then the semi figurative motives of objects are stylized and deformed. The depiction of objects still aims to describe a particular philosophy but the size of objects,

69 "Image: Ragam Hias FiguratifRagam HiasPinterestIndonesia and Jakarta," accessed March 9, 2019, https://goo.gl/images/dcUfdG. 70 Sanggarbatikkatura.com, "Motif Batik Secara Umum," Sanggar Batik Katura, last modified March 8, 2019, http://sanggarbatikkatura.com/motif-batik-secara-umum. 71 "Image: Contoh Ragam Hias Flora, Fauna, Geometris, Figuratif Dan Pengertiannya," Google URL Shortener, accessed March 9, 2019, https://goo.gl/images/hMGTQS.

33 proportions, and perspectives are no longer considered. Coloring is also free so the arrangement of these motifs is more decorative. The depiction of semi figurative motifs can be geometric, namely following forms of geometry such as triangles, rectangles, circles and non-geometric ones, which are still following the lines of the drawing object.72

IV.1.2.5 Non Figurative Motif

Figure IV.5 Non Figurative batik motif73

Nonfigurative motives are also called abstract motifs so that the forms of any object are no longer questioned. What is preferred is the beauty of the motif itself. Abstract motifs can be in the form of lines, masses, spots, batik entries, fields or colors that match between parts and whole or parts and whole and parts with other parts. The batik designers have the freedom to filter and choose the desired motif.74 In choosing a batik motif, the most important thing is accuracy, for example in choosing a figurative motif the designer needs to pay attention to cutting details so that the object remains beautiful.

72 Sanggarbatikkatura.com, "Motif Batik Secara Umum," Sanggar Batik Katura, last modified March 8, 2019, http://sanggarbatikkatura.com/motif-batik-secara-umum. 73 "Image: Contoh Ragam Hias Flora, Fauna, Geometris, Figuratif Dan Pengertiannya," Google URL Shortener, accessed March 9, 2019, https://goo.gl/images/hMGTQS. 74 Sanggarbatikkatura.com, "Motif Batik Secara Umum," Sanggar Batik Katura, last modified March 8, 2019, http://sanggarbatikkatura.com/motif-batik-secara-umum.

34

IV.1.3. Various Types of Batik Based on Design Below are some pictures of batik motifs from various popular and legendary Indonesian batik motifs:

IV.1.3.1 Yogyakarta Batik Design

Figure IV.6 Yogyakarta Batik Design75

One of the typical motifs of Yogyakarta batik is batik that is used in the palace, for example cemplok or grompol motif.76 This batik has a clean white base color with a variety of motif designs. With a geometric design whose pattern is shaped like a rose or a star, this batik symbolizes hope for the bride who uses it. In addition to the famous cemplok motif, there are also motifs of machete, keris, and sword. This motif has the meaning of authority, power, and greatness of its use. This motif is usually used by kings and descendants, and is classified in a type of batik that is prohibited by ordinary people in that period.77

75 Cyber Media, "Bagaimana Membedakan Batik Jogja Dan Solo?," KOMPAS.com, last modified October 3, 2017, https://lifestyle.kompas.com/read/2017/10/03/190254620/bagaimana- membedakan-batik-jogja-dan-solo. 76 Winoto Sastro, "Batik Motif Yogyakarta: Batik Winotosastro: Traditional Batik," accessed April 10, 2018, http://www.winotosastro.com/batik/batikyogya.html. 77 Ibid.

35

IV.1.3.2 Solo Batik Design

Figure IV.7 Solo Batik Design78

Same like Yogyakarta, Solo also has a batik motif that is only used in the keratin environment of Surakarta. 79 Motifs are meant motif , machetes, kawung, and sawat. In addition, there are also batik motifs used during the wedding. Batik Sidomukti worn bride symbolizes the hope of life full of fortune and happiness. IV.1.3.3 Cirebon Batik Design

Figure IV.8 Cirebon Batik Design80

“Mega Mendung” batik motifs with cloud motif become the main characteristic of Cirebon batik.81 In addition, batik Cirebon also often made

78 Yudha Satriawan, "Rombongan Desainer Italia Kunjungi Kampung Batik Solo," VOA Indonesia, last modified February 27, 2014, https://www.voaindonesia.com/a/rombongan-desainer-italia- kunjungi-kampung-batik-solo/1860357.html. 79 Kompas Cyber Media, "Bagaimana Membedakan Batik Jogja Dan Solo? - Kompas.com," KOMPAS.com, last modified October 3, 2017, https://lifestyle.kompas.com/read/2017/10/03/190254620/bagaimana-membedakan-batik-jogja-dan- solo. 80 KAMPUNG UKM DIGITAL, "Image: Kampung UKM DigitalYuk,, Cari Tau Batik Khas Cirebon!!!," accessed March 8, 2019, https://goo.gl/images/CPxZYF. 81 Research gate, "Identification of Values of Ornaments In... (PDF Download)," ResearchGate, last modified January 1, 2009, https://www.researchgate.net/publication/320296224_Identification_of_Values_of_Ornaments_in_Ind onesian_Batik_in_Visual_Content_of_Nitiki_Game_Journal_IJAH. 36

animals as an element of motive. Batik with elements of eagle, snake, and elephant symbolized as a symbol of the imperial power. There is also a motive barong and lion is described as a mirror of the life of the empire.

IV.1.3.4. Pekalongan Batik Design

Figure IV.8 Pekalongan Batik Design82

Pekalongan batik motifs slightly different from other batik. Pekalongan batik belonging to the coastal batik has a striking color variant.83 One motive that is believed to be the original motive of Pekalongan is the jlamprang motif. Some argue that this motif is taken from the lotus flower which is has been developed since and entered in Java. In addition to Jlamprang motif, Isen motif is also not less famous as a characteristic of Pekalongan batik. This Isen motif is a motif made of dots that form a certain pattern. IV.1.3.5. Madura Batik Design

Figure IV.9 Madura Batik Design84

82 Batik Cirebonan, "(PDF) Akulturasi Masyarakat Pekalongan Dalam Visualisasi Karya Batik," Research Gate, last modified February 1,2010, https://www.researchgate.net/publication/323104643 _Akulturasi_Masyarakat_Pekalongan_dalam_Visualisasi_Karya_Batik. 83 Media neliti, Neliti, last modified March 5, 2010, https://media.neliti.com/media/publications/59202- ID-corak-etnik-dan-dinamika-batik-pekalonga.pdf. 84 Yuliana Rackmawati, "(PDF) Batik Madura: Heritage Cyberbranding," ResearchGate, last modified March 1, 2005, https://www.researchgate.net/publication/309163186_Batik_Madura_Heritage_ Cyberbranding. 37

There are two unique sides of batik Madura. For coastal Madura batik, blue, yellow, red and green are trademark.85 Bold impressed colors also have a distinctive motif in each region, for example in Sumenep, famous for red batik with motif. On the other hand, Madura batik in the interior just displays the dark colors.

IV.2. Batik is Indonesian Way of Life

Nowadays, it cannot be denied that all Indonesians love batik and are proud of Indonesia's culture. By continuing to preserve batik, the people of Indonesia have united to make batik as one of the pride of the nation that must be maintained. Not only batik, Indonesia still has other cultures that are obligatory to be preserved by all Indonesian people.86 Such as regional languages, regional clothes, regional dances and much more. Along with the development of the nation's children also create other products that can also compete with products originating from abroad. And as citizens who love the nation, they should make domestic products the main choice. Batik Culture Original Indonesia is a typical fashion from the state of Indonesia.87 Batik is not just a traditional cloth with a variety of shades. Inside batik also contains historical and values - the value of the traditions of the Indonesian nation is very valuable. When compared with ordinary cloth batik more has artistic value suitable for all circles. Determination of National Batik Day is reinforced by Decree of the President of the Republic of Indonesia (UU No. 33 of 2009) based on consideration to improve the positive image and dignity of the Indonesian people in international forums.88 Also of course to foster pride and love of society towards Indonesian culture. Another goal is to increase public

85 Ninuk Kleden-Probonegoro, "Ekspresi Karya (Seni) dan Politik Multikultural," Antropologi Indonesia 0, no. 75 (2014): accessed April 14, 2018, doi:10.7454/ai.v0i75.3513. 86 Media Neliti, Neliti, accessed January 9, 2019, https://media.neliti.com/media/publications/62741- EN-be-proud-of-indonesian-cultural-heritage.pdf. 87 Expat, "Batik, the Traditional Fabric of Indonesia," Living in Indonesia - A Site for Expatriates in Indonesia, accessed April 15, 2018, http://www.expat.or.id/info/batik.pdf. 88 Neliti - Indonesia's Research Repository, "Kementerian Perindustrian Republik Indonesia (Kemenperin)," Neliti - Indonesia's Research Repository, accessed May 19, 2019, https://www.neliti.com/id/kemenperin-ri. 38 awareness of the protection and development efforts of Indonesian batik At present batik itself has become official clothing and everyday formal clothes by all Indonesian people. Batik is usually used during national events such as during the election of leaders, inauguration of officials, celebrations of Indonesian independence and much more. In the community itself batik is also commonly used for official office events or weddings.89 Batik cloth has transformed into many beautiful clothing models, ranging from shirts, blouses, dresses to even elegant and majestic dresses. Many well-known designers fall in love with batik cloth because of the unique motives found only in batik cloth. Batik nowadays is not only used in clothing, there are many batik motifs that are used as souvenirs in a growing form. As for paintings, women's accessories, shoes, wallets, and much more.90 Besides that, batik itself is also widely used for casual everyday wear because of the comfortable type of fabric. Like being made pajamas or negligees that are beautiful and comfortable. Batik cloth is used as a garment that is generally used when there is a formal event. Batik cloth is one of Indonesia's cultural treasures that are priceless. Since October 2, 2009 UNESCO has established batik as an Indonesian cultural heritage.91 An effort to preserve the culture of batik by realized the love of batik in using it as a fashion. Especially now the development of batik more rapidly and bring up the motif a variety of batik motifs so easy in the selection of batik style as a fashion. In addition to the effort to show love of batik is to know the types - types then know the history of batik and know how to make batik. Batik is a culture that originated from the Java land of Yogyakarta and eventually spread throughout areas such as Pekalongan, Magelang, and other areas.92 UNESCO has inaugurated Indonesian batik as a world cultural heritage since October 2, 2009. Because it can trigger the interest of the community to

89 Arsianti Latifah, Staff Site Universitas Negeri Yogyakarta, last modified May 12, 2011, http://staffnew.uny.ac.id/upload/132296047/penelitian/batik++aplikasi+artikel.pdf. 90 Ibid. 91 UNESCO, "UNESCO Jakarta Marks “Batik Day” by Wearing Batik to Work | United Nations Educational, Scientific and Cultural Organization," UNESCO | Building Peace in the Minds of Men and Women, accessed January 2, 2019, http://www.unesco.org/new/en/jakarta/about-this-office/single- view/news/unesco_jakarta_marks_batik_day_by_wearing_batik_to_wor/. 92 Indonesia biz, "Pekalongan, World's City Of Batik | Visit Indonesia," Visit Indonesia, last modified August 2, 2017, https://www.indonesia.biz.id/pekalongan/.

39 increasingly love and use batik as part of everyday fashion.

Increasing interest in batik is not only happening domestically. Based on records from the Ministry of Industry (Ministry of Industry), batik and batik product exports in 2015 reached USD 178 million, an increase of 25.7 percent compared to the previous year.93 The main markets for batik exports are Japan, the and . The use of batik in Indonesia in particular, is also supported by the Minister of Home Affairs Regulation (Permendagri) No. 68 of 2015 which came into force on 30 September 2015, regarding the timetable for the use of batik or weaving clothing for civil servant service within the interior ministry and regional government.94 This was followed by private companies that applied batik usage to employees, especially on Fridays. In the course of history, especially religion where Indonesia is one of the countries with a diversity of religion, Friday also has a record and important meaning behind it. In , Friday has another name, Sukra. Even now, both at school and in existing offices, usually will specialize one day a week to use batik as a form of pride in the culture of the Indonesian people. In addition, the inauguration of Indonesian batik by UNESCO on October 2, 2009 was Friday.95 Therefore, Friday became quite closely related to the cultural, religious and important travel history of the Indonesian people. Until now there are at least 50 original Indonesian batik motifs that have become famous to foreign countries. It Pekalongan Batik, Bali Batik, Papua Batik, Batik, Solo Batik, Jogja Batik, Batik Balik Papan, Maluku Batik and many more.

93 Informasi Batik Indonesia, "Kenapa Hari Jumat Pakai Batik ?," Informasi Batik Indonesia, last modified December 4, 2017, https://infobatik.id/kenapa-hari-jumat-pakai-batik/. 94 Ibid. 95 UNESCO, "UNESCO and the Declaration | United Nations Educational, Scientific and Cultural Organization," UNESCO | Building Peace in the Minds of Men and Women, accessed February 1, 2019, http://www.unesco.org/new/en/social-and-human-sciences/themes/human-rights-based- approach/60th-anniversary-of-udhr/unesco-and-the-declaration/.

40

VI.3. UNESCO

UNESCO stands for United Nations Educational, Scientific and Cultural Organization. 96 UNESCO is an international organization that deals with everything related to education, science and culture in order to promote mutual respect based on justice, rule of law and human rights. UNESCO was founded on November 4, 1946, in the city of Paris-France.97 Its main task is to promote international cooperation in the fields of education, science, and culture. Today, UNESCO has 191 countries including Indonesia and is headquartered at UNESCO House, Place de Fontenoy, Paris de France.98 In 2008, the government enlisted batik into the list of Intangible Cultural Heritage in UNESCO. After being officially accepted on January 9, 2009, a few months later, on October 2, 2009, UNESCO confirmed Indonesian batik in the list of Humanitarian Heritage for Oral and Intangible Culture, in Abu Dhabi, United Arab Emirates. Batik successfully recognized internationally as an indigenous cultural heritage of Indonesia, under the government of Susilo Bambang Yudhoyono (SBY).99 After UNESCO established batik as an intangible cultural heritage, it has become UNESCO's obligation to help Indonesia expand the world's introduction of batik. 100 Then UNESCO helping Indonesia in making exhibitions about batik abroad and introduce batik to millennial generation. By making the exhibition about batik, making batik go international and make the world more familiar with batik. UNESCO provides, support and facilitate two community in

96 UNESCO, "UNESCO and the Declaration | United Nations Educational, Scientific and Cultural Organization," UNESCO | Building Peace in the Minds of Men and Women, accessed February 1, 2019, http://www.unesco.org/new/en/social-and-human-sciences/themes/human-rights-based- approach/60th-anniversary-of-udhr/unesco-and-the-declaration/. 97 UNESCO, "UNESCO and the Declaration | United Nations Educational, Scientific and Cultural Organization," UNESCO | Building Peace in the Minds of Men and Women, accessed February 1, 2019, http://www.unesco.org/new/en/social-and-human-sciences/themes/human-rights-based- approach/60th-anniversary-of-udhr/unesco-and-the-declaration/. 98 UNESCO, "Visit Us | United Nations Educational, Scientific and Cultural Organization," UNESCO | Building Peace in the Minds of Men and Women, accessed April 19, 2018, http://www.unesco.org/new/en/unesco/about-us/where-we-are/visit-us/ 99 UNESCO, "UNESCO Jakarta Marks “Batik Day” by Wearing Batik to Work | United Nations Educational, Scientific and Cultural Organization," UNESCO | Building Peace in the Minds of Men and Women, accessed April 21, 2018, http://www.unesco.org/new/en/jakarta/about-this-office/single- view/news/unesco_jakarta_marks_batik_day_by_wearing_batik_to_wor/. 100 Ibid. 41 and , which are called Batik Borobudur and Batik Sonjiwani.101 Batik Borobudur has 22 members and Sonjiwani Batik has 20 members, where all its members are women. As a first step, UNESCO collaborated with an artist from the Institute of Yogyakarta to create 14 new motif designs based on temple reliefs that can be found in , Pawon and temples.102 To facilitate a series of batik training in Borobudur and Prambanan, UNESCO invites experts from Balai Batik Yogyakarta and Batik Kebon Indah Klaten. During the training, participants can learn the basic processes of batik making, techniques for adding synthetic dyes, and how to adopt new designs from temple reliefs (Mendut, Pawon, Sojiwan).103 Participants also received batik equipment and plain cloth as the group's initial capital. Furthermore, UNESCO is working with Hansae Yes 24 Foundation in cooperation and the Ministry of Foreign Affairs of Korea Republic, the Indonesian Embassy in Seoul, the Indonesian Textile Museum and the Indonesian-Korean Culture Studies. 104 As 30 traditional batik cloths are beautiful and charming collection of Indonesian Art Museum and dozens of contemporary batik collection belongs to four famous designers that can be enjoyed by the public, especially art lovers in Korea. Batik exhibited a variety of motifs ranging from traditional batik keraton to batik coastal batik like Mega Mendung. There also display contemporary batik art work of Indonesian batik artist Harry Darsono, a fashion designer haute couture that is well known in the international fashion world where the results his work is used by various nobles of the world including Princess Diana and the Queen of Thailand.105 In addition to Harry Darsono work, several other

101 UNESCO, "UNESCO Facilitated Cross Visit for Borobudur Batik Producers to Bayat, Klaten, Central Java on 17 June 2015 | United Nations Educational, Scientific and Cultural Organization," UNESCO | Building Peace in the Minds of Men and Women, accessed October 8, 2018, http://www.unesco.org/new/en/jakarta/about-this-office/single- view/news/unesco_facilitated_cross_visit_for_borobudur_batik_producers/. 102 Ibid. 103 UNESCO, "UNESCO Facilitated Cross Visit for Borobudur Batik Producers to Bayat, Klaten, Central Java on 17 June 2015 | United Nations Educational, Scientific and Cultural Organization," UNESCO | Building Peace in the Minds of Men and Women, accessed October 8, 2018, http://www.unesco.org/new/en/jakarta/about-this-office/single- view/news/unesco_facilitated_cross_visit_for_borobudur_batik_producers/. 104 "Indonesia Embassy of the Republic of Indonesia - South-Korea - Korea4expats," Information for Expats Living, Moving, Visiting, Working in Korea, accessed April 24, 2018, http://www.korea4expats.com/service-Indonesia-Embassy-of-the-Republic-of-Indonesia-303.html. 105 Indonesia's Creative Soul, "The Remarkable World of Harry Darsono," NOW JAKARTA | The Remarkable World of Harry Darsono, last modified September 17, 2017, http://nowjakarta.co.id/the- remarkable-world-of-harry-darsono. works of batik artists are also part of this exhibition, such as Agus Ismoyo and Nia Fliam from Batik Tirta Sari studio, Batik Azmiah House with Jambi batik motif and Indonesian high-end batik manufacturer Alleira Batik. Meanwhile Chairman Hansae Yes24 Foundation Mr. Lee Kye-Woo said his foundation decided to hold this batik exhibition based on the belief that a deep understanding of the culture, history, and philosophy possessed by a country would be a solid foundation for sincere friendship that would expand and strengthen economic relations and cooperation. The Hansae Yes24 company engaged in textiles and clothing products, has factories in Indonesia, in addition to , Myanmar, China, Nicaragua and Guatemala.106 President Seoul Institute of Arts Duk-Hyung Yoo who had the opportunity to attend the opening of the exhibition expressed great admiration for Indonesian batik and interested to make similar exhibitions in the future. Specifically Prof. Duk-Hyung Yoo invited representatives from Indonesian Textile Museum to perform batik demonstration at his campus after this exhibition.107 Since October 2, 2009 UNESCO has established batik as an Indonesian cultural heritage.108 An effort to preserve the culture of batik by realized the love of batik in using it as a fashion. Especially now the development of batik more rapidly and bring up the motif a variety of batik motifs so easy in the selection of batik style as a fashion. In addition to the effort to show love of batik is to know the types - types then know the history of batik and know how to make batik. Batik is a culture that originated from the Java land of Yogyakarta and eventually spread throughout Central Java areas such as Pekalongan, Magelang, and other areas.109

42 106 Fashion united, "Indonesia: an Apparel Force to Reckon with," Fashion News, Fashion Jobs, Network, Career, Job Board, Designer Jobs, Fashionjobs, London, UK, last modified November 20, 2013, https://fashionunited.uk/v1/fashion/indonesia-an-apparel-force-to-reckon-with/2013112012874. 107 Enjoy Jakarta, "Textile Museum," Enjoy Jakarta, last modified July 12, 2016, http://jakarta- tourism.go.id/2015/content/textile-museum. 108 UNESCO, "UNESCO Jakarta Marks “Batik Day” by Wearing Batik to Work | United Nations Educational, Scientific and Cultural Organization," UNESCO | Building Peace in the Minds of Men and Women, accessed January 2, 2019, http://www.unesco.org/new/en/jakarta/about-this-office/single- view/news/unesco_jakarta_marks_batik_day_by_wearing_batik_to_wor/. 109 Indonesia biz, "Pekalongan, World's City Of Batik | Visit Indonesia," Visit Indonesia, last modified August 2, 2017, https://www.indonesia.biz.id/pekalongan/.

43 VI.3 Intangible Cultural Heritage

Cultural heritage is a whole cultural heritage that has important historical values, science and technology, and / or art.110 Cultural heritage is shared by a community or society and experiences development from generation to generation, in the flow of a tradition. Intangible cultural heritage is not intangible, such as concepts and technology; and its nature can pass away and disappear in time along with the development of times such as language, music, dance, ceremonies, and various other structured behaviors. 111 Intangible Cultural Heritage based on the UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage 2003.112 Intangible Cultural Heritage is a variety of practices, representations, knowledge, skills - as well as instruments, objects, artifacts and related cultural spaces that society, groups and, in some cases, individuals are part of that cultural heritage. This intangible cultural heritage is inherited from generation to generation, which is constantly being recreated by society and groups in responding to their surroundings, their interactions with nature and their history, and providing a sense of identity that is sustainable, to respect cultural differences and human creativity. Intangible culture is also known as the cultural term of life. Since Indonesia became a State Party to the 2003 Convention on the protection of intangible cultural heritage, according to articles 11 and 12 of the 2003 convention Indonesia was obliged to regulate the identification and inventory of Indonesian intangible cultural heritage in the territory of the Republic of Indonesia in one or more periodically updated inventories.113 To identify and inventory the intangible cultural heritage of the directorate general of culture through heritage directories and cultural

110 E-CONVERSATION magazine, Ibermuseos, last modified February 7, 2012, http://www.ibermuseos.org/wp-content/uploads/2015/07/Unidad3_econservationMagazine24.pdf. 111 UNESCO, "UNESCO - What is Intangible Cultural Heritage?," Intangible Heritage Home - Intangible Heritage - Culture Sector - UNESCO, accessed March 1, 2019, https://ich.unesco.org/en/what-is-intangible-heritage-00003. 112 UNESCO, "Convention for the Safeguarding of the Intangible Cultural Heritage," accessed March 1, 2019, http://portal.unesco.org/en/ev.php- URL_ID=17716&URL_DO=DO_TOPIC&URL_SECTION=201.html. 113 UNESCO, "UNESCO - Text of the Convention for the Safeguarding of the Intangible Cultural Heritage," Intangible Heritage Home - Intangible Heritage - Culture Sector - UNESCO, accessed January 1, 2019, https://ich.unesco.org/en/convention.

44 diplomacy to record, establish and eliminate intangible cultural heritage. Recording was carried out with the help of 11 (eleven) Cultural Value Preservation Centers in all of Indonesia.114 Determination of intangible cultural heritage is proposed by regional governments at the national level. Nominations are proposed by indigenous communities and local governments through the ministry of education and culture to be submitted to UNESCO. Until now, 594 cultural works have been designated as Indonesian Intangible Cultural Heritage from all with details in 2013 of 77 Intangible Cultural Heritage, 2014 totaling 96 Intangible Cultural Heritage, 2015 totaling 121 Intangible Cultural Heritage, 2016 amounting to 150 Inheritance Intangible culture and 2017 are 150 Intangible Cultural Heritage. The determination of the Intangible Cultural Heritage was proposed by the regional government in collaboration with indigenous communities as the party responsible for preservation after the establishment of the Intangible Cultural Heritage.115 The proposal of the Indonesian Intangible Cultural Heritage to UNESCO was carried out by the Regional Government and indigenous communities to the Ministry of Education and Culture. Until now the UNESCO List of Intangible Cultural Heritage is 7 Indonesian Intangible Cultural Heritage namely:116  Indonesian Wayang in 2003 as a masterpiece of the oral and intangible heritage of humanity and in 2008 was included in the category as a Representative List of the Intangible Cultural Heritage of Humanity.  Indonesian Keris in 2005 as a masterpiece of the oral and intangible heritage of humanity and in 2008 was included in the category as a Representative List of the Intangible Cultural Heritage of Humanity.  Indonesian Batik in 2009 was included in the category as a Representative List of the Intangible Cultural Heritage of Humanity and Education and training in Indonesian Intangible Batik cultural heritage

114 UNESCO, "UNESCO - Text of the Convention for the Safeguarding of the Intangible Cultural Heritage," Intangible Heritage Home - Intangible Heritage - Culture Sector - UNESCO, accessed January 1, 2019, https://ich.unesco.org/en/convention. 115 UNESCO, "UNESCO - Text of the Convention for the Safeguarding of the Intangible Cultural Heritage," Intangible Heritage Home - Intangible Heritage - Culture Sector - UNESCO, accessed January 1, 2019, https://ich.unesco.org/en/convention. 116 Admin GLN, "Warisan Budaya Tak Benda," Gerakan Literasi Nasional, last modified October 12, 2017, http://gln.kemdikbud.go.id/glnsite/formulir-warisan-budaya-tak-benda/.

45 for elementary, junior, senior, vocational school and polytechnic students, in collaboration with the Batik Museum in Pekalongan included in the category as Best Safeguarding Practices.  Angklung Indonesia in 2010 was included in the category as a Representative List of the Intangible Cultural Heritage of Humanity.  The dance in 2011 was included in the category as a List of Intangible Cultural Heritage in Need of Urgent Safeguard.  : Multifunctional bags made by knitting or weaving, Papuan crafts in 2012 fall into the category as a List of Intangible Cultural Heritage in Need of Urgent Safeguard.  Three Genres of Traditional Dance in Bali in 2015 included in the category as a Representative List of the Intangible Cultural Heritage of Humanity.

The inheritance of Intangible Culture is manifested among other things in the fields of:117  Oral Tradition and Expression, including language as a vehicle for intangible cultural heritage  Performing Arts  Customs of indigenous peoples, rites, and celebrations  Knowledge and behavioral habits regarding the universe  Traditional skills.  Oral Traditions and Expressions such as language, ukno manuscripts, traditional games, rhymes, folklore, mantras, prayers, folk songs and others.  Performing arts such as dance, sound art, music, theater, film and other things.  Customs of indigenous peoples, rites, and celebrations such as traditional ceremonies (life cycle ceremonies), social organization systems, traditional economic sisters and others.  Knowledge and behavioral habits regarding the universe such as traditional knowledge, local wisdom, traditional knowledge and others

117 Admin GLN, "Warisan Budaya Tak Benda," Gerakan Literasi Nasional, last modified October 12, 2017, http://gln.kemdikbud.go.id/glnsite/formulir-warisan-budaya-tak-benda/. 46  Traditional skills and skills such as traditional technology, traditional architecture, traditional clothing, traditional accessories, traditional crafts, traditional culinary, traditional transportation media, traditional weapons and others The Indonesian Intangible Cultural Heritage which will be selected for proposals in the UNESCO ICH list must meet the following criteria:118

 Is a cultural identity of one or more Cultural Communities; have cultural values that can increase awareness of identity (the guardian of Indonesian culture and society) and national unity  Having the uniqueness / uniqueness / rare of a tribe that strengthens the identity of the Indonesian nation and is part of the community  A living tradition and collective memory that is related to nature conservation, the environment, and is useful for humans and life  Intangible cultural heritage which gives a multiplier effect  Urgent to be preserved (cultural elements / works and actors) because of natural events, natural disasters, social crises, (cultural crises,) political crises, and economic crises;  Become a means (and guarantor) for sustainable development to be the guarantor for sustainable development  The existence of which is threatened with extinction  Cultural Heritage No objects are prioritized in border areas with other countries  Vulnerable to claims of non-objects of cultural heritage by other countries.  It has been inherited from more than one generation  Owned as large as a particular community  Does not conflict with human rights and conventions in the world (laws and regulations in Indonesia)  Support the diversity of cultures and natural environments

118 Admin GLN, "Warisan Budaya Tak Benda," Gerakan Literasi Nasional, last modified October 12, 2017, http://gln.kemdikbud.go.id/glnsite/formulir-warisan-budaya-tak-benda/.

47

VI.6. Batik as Integral Part of Cultural Diplomacy Indonesia

Economy Minister of Welfare Agung Laksono said four certificates from UNESCO are the symbol of world recognition of some of Indonesia's cultural heritage, in this case Wayang Indonesia, Keris Indonesia and Batik Indonesia. All three are included in "The Representative List of the Intangible Culture Heritage of Humanity".119 The recognition of the world is represented by UNESCO, the World's highest cultural organization under the auspices of the United Nations.120 This recognition is of course a success of the Indonesian nation in fulfilling the mandatory requirement of the nomination process of the cultural heritage. One more proud, in addition to the three certificates, is a certificate for Best Practice Training of Heritage Batik Indonesia. 121 This is an appreciation of the competence and sincerity of Indonesian batik community in preserving Indonesian batik cultural heritage, through education and training to school students. The Best Practice Award which is followed by UNESCO's elaboration program or elaboration project in the form of book making, film making and exhibition material for UNESCO's world tour promotion event is an excellent opportunity to promote Indonesian Batik to the world. As stated, the UNESCO certificate belongs to the non-object culture group, which refers to the Convention on the Protection of the Intangible Cultural Heritage (2003) on the Safeguarding of Intangible Cultural Heritage.122

This Convention provides recognition of non-cultural objects such as oral culture; performing arts; customs and celebrations; knowledge of nature

119 UNESCO, "Purpose of the Lists of Intangible Cultural Heritage and of the Register of Good Safeguarding Practices - Intangible Heritage - Culture Sector - UNESCO," Intangible Heritage Home - Intangible Heritage - Culture Sector - UNESCO, accessed April 16, 2018, https://ich.unesco.org/en/purpose-of-the-lists-00807. 120 UNESCO, "UNESCO and the Declaration | United Nations Educational, Scientific and Cultural Organization," UNESCO | Building Peace in the Minds of Men and Women, accessed February 1, 2019, http://www.unesco.org/new/en/social-and-human-sciences/themes/human-rights-based- approach/60th-anniversary-of-udhr/unesco-and-the-declaration/. 121 Ibid. 122 UNESCO, "Purpose of the Lists of Intangible Cultural Heritage and of the Register of Good Safeguarding Practices - Intangible Heritage - Culture Sector - UNESCO," Intangible Heritage Home - Intangible Heritage - Culture Sector - UNESCO, accessed April 16, 2018, https://ich.unesco.org/en/purpose-of-the-lists-00807. 48 and the universe; traditional crafts. The advantage for Indonesia with the inclusion of Indonesian cultural eyes into the list of representatives, he said not solely to get technical assistance and funds from UNESCO for the purpose of conservation, but more important is the world's recognition of the existence of art and 's natural wealth that became nation identity.123 Within this frame of mind, with the nation's cultural richness, especially the immaterial culture of so many, all parties want to jointly strive to propose the eyes of other cultural-eye cultures to be included in its UNESCO list representation. UNESCO recognition is obtained after meeting various criteria which is not easy. Upon receipt of this certificate, it does not mean the task is completed. UNESCO inscription brings the consequence that the parties of the government and related social organizations must continuously preserve and develop the intangible cultural heritage, in accordance with the commitments it has stated in the files submitted to UNESCO. 124

123 Antaranews.com, "Batik Indonesia Resmi Diakui UNESCO - ANTARA News," Antara News, last modified October 2, 2009, https://www.antaranews.com/berita/156389/batik-indonesia-resmi-diakui- unesco. 124 Ibid.

49 CHAPTER V

PROCESS AND CHALLANGE OF INDONESIA IN WINNING BATIK AS INTANGIBLE CULTURAL HERITAGE

In 2008, at that time was the time of the conflicts in Indonesia and Malaysia heated up again. Not even one year after Malaysia claimed that Keris was from Malaysia than Indonesia was surprised again by the recognition that batik belonged to Malaysia.125 This makes the Indonesian people then try to win batik again. The efforts made are very various. Starting from domestic effort and than international effort and the last is patenting batik through UNESCO.

V.1. Domestic Effort in Winning Batik

Indonesia effort to introduce batik is not only in International but also in the country as well.126 Not only the world community should know that batik is a cultural heritage of Indonesia, but many millennial generations that must know about their culture. Using batik is very important because it shows our love for our beloved homeland, the cultural distinctiveness that Indonesia has. By using batik, we can show our identity that we are Indonesian. Some of the efforts made by Indonesia to win batik again, including effort from our own country. There are Batikmark, Batik Motif Design Competition Lamongan, Solo Batik Carnival, PT. Gitar Batik Produktama.

V.1.1 Batikmark

One of the ways the Indonesian government to protect Indonesia traditional heritage takes place in the field of batik textiles. One goal is to shape the perception of the world that Javanese batik-patterned textiles, which include the traditional practice of cloth dying through wax resist methods, originated from Indonesia. As

125 Tribunnews.com, "Resah Klaim Keris Warisan Leluhur Malaysia," Surya, last modified October 13, 2012, http://surabaya.tribunnews.com/2012/10/13/resah-klaim-keris-warisan-leluhur-malaysia. 126 Iva Rachmawati, "Indonesian Public Diplomacy: Preserving State Existence through Sharing of Indetities to Gain Mutual Understanding," Jurnal Global & Strategis 11, no. 1 (2017): doi:10.20473/jgs.11.1.2017.55-71.

50 such, the Indonesian government has nominated Javanese batik patterned textile into the United Nations list for Education, Science and Culture (UNESCO) intangible cultural heritage. This nomination will be officially registered in May 2009. As a continuation of this nomination, the government is now issuing a certification mark, called "Batikmark", through the Ministry of Industry which can be applied to properly certified Indonesian batik products.127 "Batikmark" was introduced by the Indonesian Ministry of Industry through its Ministerial Decree (Regulation of the Minister of Industry of the Republic of Indonesia) No 74 / MIND / PER / 9/2008.128 The government's steps to establish a regulatory framework for registration and protection of Batik - the pattern of textiles using signs is not a new step. With "Batikmark", Indonesia is considered to combine the concept of collective brands and certification. Based on the Decree of the Indonesian Minister, only batik producers who have sold their products under a registered trademark can obtain a "Batikmark" certification. Products from producers must also pass many tests conducted by the National Standardization Agency. Products that pass their tests are considered to be in accordance with "Indonesian National Standards".129 The manufacturer receives certification in passing the test. If the producers fulfill the requirements, they can then submit a written application, which is attached to the company profile, for the head of the Yogyakarta Grand Craft and Batik House (Central for Crafts and Batik). Yogyakarta Craft Grand Batik House is an institution authorized by a Ministerial Decree to carry out additional tests on batik pattern textiles. Batik Institutions will then carry out tests in their laboratories. The aim of the test is to ensure that the textile meets the certification standards of batik patterned textiles. Qualifications include reviewing: materials applied to textiles, patterns, dyeing techniques, and textile quality. If the textile batik pattern passes the test, the producer will be eligible to get a certification "Batikmark" number. This certification is valid for three years and can be extended. This

127 Kementrian Perindustrian Republik Indonesia, "Kemenperin: Pemerintah Ciptakan Sistem 'Batikmark'," Kementerian Perindustrian, last modified March 4, 2010, http://www.kemenperin.go.id/artikel/6123/Pemerintah-Ciptakan-Sistem-'Batikmark'-untuk-Mencegah- Pembajakan. 128 Kementrian Perindustrian Republik Indonesia, "Peraturan," Biro Hukum Dan Organisasi Kementerian Perindustrian, accessed March 5, 2019, http://jdih.kemenperin.go.id/site/baca_peraturan/112. 129 Finance.detik.com, "Batik Mark Jadi Pembeda Antara Batik Asli Indonesia Dengan Buatan China," Detikfinance, accessed March 5, 2019, https://finance.detik.com/industri/d-2227961/batik-mark-jadi- pembeda-antara-batik-asli-indonesia-dengan-buatan-china.

51 certification in the form of a label printed "Indonesian Batik" which is installed in every single product of batik patterned textile that has been certified. This label has been protected by copyright in the Indonesian Copyright Office.130 The first goal of having a "Batikmark" certification was to affirm Javanese batik motifs as Indonesia's traditional cultural heritage. 131 Furthermore, the "Batikmark" certification also functions as a quality assurance label for batik motifs originating from Indonesia. This helps protect consumers from textile-patterned Javanese batik by ensuring that consumers do buy Javanese native Indonesian- textile-patterned batik that has been certified by a nationally authorized institution. Finally, the "Batikmark" certification is intended to face competition from other similar or almost identical products on the market and to overcome the threat of illegitimate copying of Indonesian Javanese batik-patterned textiles by foreign textile producers. This practice has taken place Asian and African countries have copied Indonesian batik patterns.132 Producers who get the "Batikmark" certification automatically get protection in Indonesia but not necessarily in other countries. Producers must apply for intellectual property rights in other countries to secure greater protection. These rights can be in the form of design patents, copyrights, and / or trademarks. Although batik patterned textile have been certified by the Indonesian government, independent producers must secure the protection of intellectual property in foreign countries of their interest. 133 Until the Indonesian government globalizes their portfolio of intellectual property protection for batik and other products from cultural heritage, international protection of producers will generally be limited to their own protection efforts.

A word, name, symbol, device or combination of all can be approved as

130 Finance.detik.com, "Batik Mark Jadi Pembeda Antara Batik Asli Indonesia Dengan Buatan China," Detikfinance, accessed March 5, 2019, https://finance.detik.com/industri/d-2227961/batik-mark-jadi- pembeda-antara-batik-asli-indonesia-dengan-buatan-china. 131 Kementrian Perindustrian Republik Indonesia, "Kemenperin: Pemerintah Ciptakan Sistem 'Batikmark'," Kementerian Perindustrian, last modified March 4, 2010, http://www.kemenperin.go.id/artikel/6123/Pemerintah-Ciptakan-Sistem-'Batikmark'-untuk-Mencegah- Pembajakan. 132 Kompas Cyber Media, "Pemerintah Keluarkan Logo Batik Indonesia," KOMPAS.com, last modified July 24, 2012, https://bola.kompas.com/read/2012/07/24/16210951/index.html. 133 Andani, "Justiciabelen," KEKUATAN HUKUM BATIKMARK SEBAGAI SARANA PERLINDUNGAN PRODUK BATIK DI INDONESIA 1, no. 1 (2018) 52 a trademark as long as they are used to identify and distinguish goods from producers from those produced or sold by others, it is an indicator of the source of the goods. Thus, a trademark is defined by three important elements:134 (1) actual words, symbols or devices, (2) the use of symbols as a sign of goods and services, and (3) the ability of brands to identify and distinguish the source of goods and / or services. A "Batikmark" certification trademark from the Indonesian government guarantees that the product has certain characteristics that make it different from the others - batik patterns. This guarantees the uniqueness of textiles, patterns, dyeing techniques, and textile quality. These characteristics determine the identity of the product and distinguish it from other batik-patterned textiles. Thus, trademarks provide protection for consumers from confusion about the source and quality of manufactured objects.

V.1.2 Batik Motif Design Competition Lamongan

The efforts undertaken among others are in an effective way to introduce batik to the children has been run Department of Industry and Commerce Lamongan regency, East Java. The industry and trade district Lamongan poured in the "Batik Motif Design Competition Lamongan" level of junior and senior high school in Lamongan on 1 April 2008.135 This theme contest aims to show love starts early. Before plunge into the race, they have first been running interesting and unique activities undertaken by the children to be able to get to know batik more deeply by learning to make batik. Through this activity the children will be able to know how the process of making batik from beginning until the last step. When designing various batik motifs typical Lamongan, such as Batik Sendang, Batik Bandeng Lele, Gap, and other City identity, batik-themed competition that was followed by these children provide education about batik.136 Indirectly, this event also introduces the color of batik

134 Devi Andani, "Justiciabelen," KEKUATAN HUKUM BATIKMARK SEBAGAI SARANA PERLINDUNGAN PRODUK BATIK DI INDONESIA 1, no. 1 (2018) 135 Richah Rosmaya, "BATIK LAMONGAN," BATIK SENDANG LAMONGAN 5, no. 2 (April 2011): accessed February 2, 2019, https://media.neliti.com/media/publications/250077-batik-sendang- lamongan-22b5920e.pdf.

53 136 Richah Rosmaya, "BATIK LAMONGAN," BATIK SENDANG LAMONGAN 5, no. 2 (April 2011): accessed February 2, 2019, https://media.neliti.com/media/publications/250077-batik-sendang- lamongan-22b5920e.pdf. is diverse, diverse motifs and describes many things around it or tells about the cultural pride that has been hundreds of years old. Through this event they are expected to be able to pour, inspire whatever potential that exist in this Lamongan the icons that exist in Lamongan into a container that is batik design The batik themed competition, which is followed by these children, is quite effective to introduce, grow the love of batik, especially in it wrapped with appreciation for their work.137 Appreciation of creativity with batik did not stop there. Some of the creations they produce can be poured into the design of Lamongan School or their school uniform design. Through this event aims to convey to the craftsmen, that this becomes a benchmark. This batik design of the children we must participate even from the department itself from the Education Office we have communicated, the champion later that will be used as batik design for school children.138 The batik competition held in Lamongan aims to introduce batik to the community, especially Indonesian students who will be the next generation of the nation. In this competition it also aims to strengthen the nation strength, which is being claimed by neighboring Malaysia who are claiming that batik belongs to Malaysia.

V.1.3 Solo Batik Carnival

Batik solo carnival is an effort made by the Indonesian people in combating Malaysia which is claiming Indonesian cultural heritage. The first Solo Batik Carnival was held on April 13, 2008 and along the Slamet Riyadi street from Purwosari to Solo City Hall.139 The carnival, which was opened by the Minister of Trade, Mari Elka Pangestu, began with a group of 52 people from Jember Fashion Carnaval led by Yogyakarta Fashion Carnival president

137 Iva Rachmawati, "Indonesian Public Diplomacy: Preserving State Existence through Sharing of Indetities to Gain Mutual Understanding," Jurnal Global & Strategis 11, no. 1 (2017): doi:10.20473/jgs.11.1.2017.55-71. 138 Richah Rosmaya, "BATIK LAMONGAN," BATIK SENDANG LAMONGAN 5, no. 2 (April 2011): accessed February 2, 2019, https://media.neliti.com/media/publications/250077-batik-sendang- lamongan-22b5920e.pdf.. 139 Panduwisata.id, "Solo Batik Carnival 2013, Fashion on The Street," Wisata Yogyakarta, last modified June 26, 2013, http://yogyakarta.panduanwisata.id/jawa-tengah-2/solo/solo-batik-carnival- 2013-fashion-on-the-street/.

54 Dynand Fariz, followed by 247 participants from Solo and many elements of society students, lecturers, artists, housewives, and children. The Solo Batik Carnival is organized by Solo Batik Carnival Foundation, with support from Surakarta Government. The interesting about this event is it existence community involvement to participate in enlivening the Solo Batik Carnival.140 All participants must creating costumes at your own expense. The committee only gives workshop facilities and implementation. Besides that, Solo Batik Carnival also presents different and interesting batik costume themes for each year. The concept of the Solo Batik Carnival is the adoption of World Class carnivals like the ones in Rio de Janeiro and Venice in European countries.141 Location the difference in the costume displayed. Solo Batik Carnival uses costumes batik motif to display the distinctive characteristics of the city of Surakarta. Other than that, batik was chosen to bring participants and spectators closer to the potential of batik in Surakarta. With the accompaniment of music, the fashion show from models wearing black, red, green and white puppet themed costumes dance and perform attractive movements along the 4.2 km route, to the Solo City Hall.142 The night before, a Royal Dinner was held at Pura Mangkunegaran. Hundreds of invited guests were treated to the carnival participants' fashion performances as warm up. Srawung Batik was held which featured batik, and Solo culinary wealth. This exhibition was attended by 70 stands, taking place from near Dalem Wuryaningratan to Solo Center Point. The city of Solo since 2008 has also presented Batik optimally. By holding the Solo Batik Carnival event in the city of Solo trying to instill batik as Indonesia's brand image.

140 Rini Riana Fajar, "SOLO BATIK CARNIVAL SEBAGAI ATRAKSI WISATA BUDAYA DI SURAKARTA," SOLO BATIK CARNIVAL SEBAGAI ATRAKSI WISATA BUDAYA DI SURAKARTA, March 2011, accessed January 5, 2019, https://eprints.uns.ac.id/id/eprint/6123. 141 Panduwisata.id, "Solo Batik Carnival 2013, Fashion on The Street," Wisata Yogyakarta, last modified June 26, 2013, http://yogyakarta.panduanwisata.id/jawa-tengah-2/solo/solo-batik-carnival- 2013-fashion-on-the-street/. 142 Ibid.

55 V.1.4 PT. Gitar Batik Produktama

Introducing batik culture is not only by introducing batik to fashion lovers or young generations, but also through music. As done by PT Gitar Batik Produktama, Mr. Haryo Sasongko Santoso, owner of this company who has an artistic spirit, making the batik guitar production business in the process of being carried out in Jakarta, , and Yogyakarta.143 Previously PT Gitar Batik Produktama has been established since January 2009, but in October 2010, the company had registered this creation with the Directorate General of Rights on the Intellectual Property of the Ministry of Law and Human Rights. Because of this, the ministry is now endorsing it. Later the authorities will issue a statement, if the batik guitar is indeed through the process of batik. On January 2009 PT. Gitar Batik Produktama founded when news about batik was claimed by Malaysia. Owner of this company Mr. Haryo Sasongko Santoso, made a masterpiece to introduce batik and even made batik more seen not only can be made on cloth, but also can be made on wood.144 The purpose of making batik guitars is for everyone to know that batik only belongs to Indonesia and Mr. Haryo Sasongko Santoso has a goal so that musicians will also become more familiar with batik. The batik process by writing batik smoothly, and also using chemical dyes. Because coloring techniques using natural dyes are actually not optimal results. Batik on this guitar also cannot use printed batik.145 The length of the process of making this guitar is about half a day to make batik, and the rest is the time to dry the batik paint. The guitars, which are produced from mahogany wood, are worked on in Jakarta and Yogyakarta, starting from making the guitar to pouring fine batik and finishing the finishing touches in the two cities. Mr. Haryo added mahogany wood, the texture of the surface was quite thick and the nature of the wood was hard, so the absorbency of the wax was also different, if the batik was poured

143 Kompas Cyber Media, "Ketika Gitar Berbalut Batik..," KOMPAS.com, last modified November 27, 2011, https://megapolitan.kompas.com/read/2011/11/27/1335505/Ketika.Gitar.Berbalut.Batik. 144 Kompas Cyber Media, "Ketika Gitar Berbalut Batik..," KOMPAS.com, last modified November 27, 2011, https://megapolitan.kompas.com/read/2011/11/27/1335505/Ketika.Gitar.Berbalut.Batik.. 145 Fadhly Fauzi Rachman, "Berawal Dari Hobi, Pria Ini Bisnis Gitar Motif Batik Hingga Ke Mancanegara," Detikfinance, last modified December 17, 2011, https://finance.detik.com/solusiukm/d- 3325950/berawal-dari-hobi-pria-ini-bisnis-gitar-motif-batik-hingga-ke-mancanegara.

56 on cloth media. Batik guitar is only produced by order, considering the high selling price of around US $ 1,000 per unit. That’s why most importers who order come from a number of countries such as the United States, Ireland and Italy. But besides being exported directly, there are also those exported through third countries such as . Usually these batik guitars are exported along with other wood based products, and every month the export value is around Rp.40 million.146 Every batik guitar that is produced, no one has the exact design, especially the batik is batik. In the country, actually the interest in this batik guitar is quite large. There was a request that came from the Music Museum in , but they hoped that the price would not be too high, meaning that there were subsidies for the sake of preserving the culture, and placed in the museum.

V.2. Indonesia and International Cooperation

Batik is a cultural work that represents the identity of Indonesia in the eyes of the world. In a piece of batik cloth exposed to the cultural identity and history of an area or city. Batik fabric is identified as Nusantara cloth is now developed into a modern industry. The consequences of the entry of batik into modern industry, then batik is required to follow the times, according to the development of fashion and market demands. Batik developments that follow the development of the era from year to year finally shows the dynamics vary. Batik as a product of art noble, the beginning of his birth colored many symbols of the palace. In the past, its use was still limited among the palace. However, along with the time shift, batik then became a widely traded commodity. Now day, the use of batik has begun in the community. Batik has also been used not only in traditional ceremonies, but also in everyday life. Now, began to emerge batik-patterned clothes and a lot of special places that sell this batik, ranging from batik that is really sacred and pure to modified batik that is applied in everyday clothes. In its development, efforts to make Nusantara fabrics can

146 Fadhly Fauzi Rachman, "Berawal Dari Hobi, Pria Ini Bisnis Gitar Motif Batik Hingga Ke Mancanegara," Detikfinance, last modified December 17, 2011, https://finance.detik.com/solusiukm/d- 3325950/berawal-dari-hobi-pria-ini-bisnis-gitar-motif-batik-hingga-ke-mancanegara.

57 meet the needs of the present take a variety of forms. Not only are decorations adapted to current needs or silk threads replaced by silk to obtain lighter fabrics and are more easily adjustable for various purposes, but also the way the fabric is used, especially when the fabric is intended for clothing. Currently batik has become a new trend in society. Not only clothes that use batik as the material, but pillowcases, curtains, and bed sheets have been there that use batik design. This is a good start for the preservation of batik art. Since October 2, 2009 in Abu Dhabi, United Arab Emirates, UNESCO has officially established Indonesian batik as one of the cultural heritage objects (The Representative List of the Intangible Cultural Heritage of Humanity). With the official recognition of the world body is now entering the stage of batik how to protect, preserve, develop and promote Indonesian batik to the whole corners of the world. 147

V.2.1 Barack Obama's Mother Collection Batik Exhibition

The bilateral relations between Indonesia and America have been established for a long time. The collaboration between Indonesia and America as we know it is very well established. When Indonesia was having a problem with claiming batik, America also took part in supporting Indonesia to take batik back, as done by the Indonesian Consulate General in Washington who made a state-themed exhibition on batik. In order to introduce Indonesian batik a collection of Mrs. Ani Bambang Yudhoyono and mother of President Barack Obama, Ms. Ann Durham, Consulate General of the Republic of Indonesia (KJRI) in New York held a batik exhibition for 3 days in Washington.148 The collection from Ani Yudhoyono was exhibited as many as 6 pieces from several regions in Indonesia. And, Obama's mother's collection there are 19 long cloths and 2 scarves. This collection of mothers from number one in the US is mostly batik from Yogyakarta.149 Ani Yudhoyono's batik collections on

147 UNESCO, "Indonesian Batik - Intangible Heritage - Culture Sector - UNESCO," Intangible Heritage Home - Intangible Heritage - Culture Sector - UNESCO, accessed April 24, 2018, https://ich.unesco.org/en/RL/indonesian-batik-00170. 148 Okezone, "Koleksi Batik Ibu Obama Dipamerkan Di Washington : Okezone News," Https://news.okezone.com/, last modified July 13, 2014, https://news.okezone.com/read/2009/08/07/18/245805/koleksi-batik-ibu-obama-dipamerkan-di- washington. 58 149 NU Online, "Koleksi Batik Ibu Obama Dipamerkan Di AS," NU Online, accessed March 11, 2019, http://www.nu.or.id/post/read/17225/koleksi-batik-ibu-obama-dipamerkan-di-as. display include one pair of batik scarf from Kawung, one pair of modern motifs of sarimbit batik, one sheet of sogan motif with sidoluhur kencana motif, and one pair of with batik motifs with ceplok motif. Some of Dunham's batik clothes was selected by Obama's younger sister, Maya Soetoro. Maya still keeps all her mother's clothing collection in Hawaii, which is 100 pieces. Most of the batik clothing was obtained in Indonesia, where Dunham lived and worked in the 1960s after being married to Lolo Soetoro.150 The exhibition also aimed at introducing batik to the international, especially in America, and to try to win batik again. This exhibition is also a bilateral event between Indonesia and the US, also in the framework of creative Indonesia and a 100 percent Indonesian love program.151

V.2.2 The Cooperation between Indonesia, Bulgaria, and France In Perform Batik Exhibition

Winning batik as an Indonesian cultural heritage, the step taken by Indonesia is to promote or reintroduce batik in the eyes of the world, such as by making batik exhibitions in other countries. Working with the Batik Club in Targovishte City, Burgaria, the Indonesian Embassy in Targovishte held a Batik Exhibition and Workshop at the Targovishte City Youth Center.152 The batik exhibited at that time was a collection of the Ambassador of the Republic of Indonesia, Sofia, who had been for decades, but also exhibited batik by members of the Targovishte Batik Club. In addition to the batik exhibition, tari from West was also performed, which was performed by a group built by the Indonesian Embassy, Pesona Mawar Nusantara.153 Founder of the Targovishte Batik Club, Mrs. Salvka Georgieva

150 Kompas Cyber Media, "Pameran Batik Ibu Obama Dibuka Ibu Negara," KOMPAS.com, last modified November 17, 2009, https://nasional.kompas.com/read/2009/11/17/10212930/pameran.batik.ibu.obama.dibuka.ibu.negara. 151 Okezone, "Koleksi Batik Ibu Obama Dipamerkan Di Washington : Okezone News," Https://news.okezone.com/, last modified July 13, 2014, https://news.okezone.com/read/2009/08/07/18/245805/koleksi-batik-ibu-obama-dipamerkan-di- washington. 152 Kemenlu.go.id, "Pameran Batik Indonesia di Kota Targovishte," last modified February 5, 2013, https://www.kemlu.go.id/sofia/id/berita-agenda/berita-perwakilan/Pages/Pameran-Batik-Indonesia-di- Kota-Targovishte.aspx. 59 153 Kemenlu.go.id, "Pameran Batik Indonesia di Kota Targovishte," last modified February 5, 2013, https://www.kemlu.go.id/sofia/id/berita-agenda/berita-perwakilan/Pages/Pameran-Batik-Indonesia-di- Kota-Targovishte.aspx. expressed her delight that this event is to celebrate the 25th anniversary of the birth of the batik club and hopes that the collaboration that has been established continues in the future. The event also exhibited workshops on how to make batik using candles and paint cloth as coloring used by children of the Targovishte Batik Club. Visitors consisting of deputy mayor of Targovishte, students, teachers, local community leaders who admired the batik cloth on exhibition.154 They feel happy with this exhibition because they can directly interact with Indonesian culture, which is very difficult for them to meet. On the sidelines of the exhibition, the Indonesian Embassy in Sofia also visited the second school Prof. Nikola Marinov, the largest school in the Targovishte region with 1,200 students.155 The specialty of this school is for grades 9-12 who have special majors in the fields of art, music, and dance. In a meeting with the Principal discussed the possibility of more intensive cooperation in the future. In this visit there was also a photo exhibition about Indonesia and an archipelago dance performance. Meanwhile in France, the Indonesian Batik Exhibition themed "Javanais Batik, Sekar Jagad (Fleurs de L'Univers)" was held at Galerie Saint-Jacques, Saint-Quentin, Picardie, France.156 The function of the Paris Embassy Social and Cultural Coordination Coordinator Arifi Saiman who attended the opening of the exhibition to Antara London on Friday said the exhibition was held in collaboration with the Municipal Government of Saint-Quentin and Galerie Saint-Jacques and Swiss Batik collector Gaspard de Marval.157 Arifi Saiman said the opening of the exhibition was attended by a number of invited guests, consisting of officials from the City Government of Saint-Quentin, officials of the Paris Embassy, businessmen and fashion designers, and a community of batik lovers in the Saint-Quentin and surrounding areas. The exhibition took place from March 27, 2009 to May 12,

154 Ibid. 155 Kemenlu.go.id, "KBRI Sofia - Indonesian Embassy in Sofia - Indonesian Batik Exhibition in Targovishte Town," last modified April 5, 2013, https://www.kemlu.go.id/sofia/en/berita- agenda/berita-perwakilan/Pages/Indonesian-Batik-Exhibition-in-Targovishte-Town.aspx. 156 Replubika.co.id, "Indonesia Pamerkan Batik Di Prancis," Republika Online, last modified March 30, 2013, https://www.republika.co.id/berita/nasional/umum/13/03/30/mkfom4-indonesia-pamerkan- batik-di-prancis. 157 Ibid. 60 2009 opened by Deputy Mayor of Saint-Quentin Culture, Stphane Lepoudre.158 The first Batik Exhibition, held at Saint-Quentin, featured around 200 batik materials / clothing from the Gaspard de Marval collection.159 A number of Javanese, Madurese, Sumatran and batik artworks, as well as shades of batik clothing are displayed at this exhibition. Especially for Javanese batik, this exhibition presents the Surakarta Keraton batik artwork and Tiga Negeri Batik with a unique combination of Pekalongan, Surakarta and Yogyakarta. In this exhibition the committee also displayed foreign-made batik such as made in the for the African market, and typical Chinese batik.

V.2.3 Export Batik to International

In general in the international world, batik has also occupied the hearts of the world community as one of Indonesia's original cultural heritage. Moreover, the government and national batik entrepreneurs are constantly making breakthroughs to develop the batik industry. Of course, hoping that batik will get the respect and respect it deserves, as one of the world cultural heritage of Indonesia that deserves to be taken into account. The development of batik was so rapid that even batik skills developed in many countries, such as Thailand, Iran and Sri Lanka, Britain, the United States and other countries. With the cooperation and bilateral relations between countries that contributed to the winning of batik, a number of batik-themed exhibitions were held in several countries, and in the end the batik exhibition could make batik better known internationally, and then get positive responses from various countries. In the end made batik in demand and batik orders in various countries soared. In addition, the development of batik in the international world certainly provides economic benefits for Indonesia. About two million people depend on batik businesses, from small and medium traders and suppliers of batik needs

158 Jafar M Sidik, "Ada Pameran Batik Di Prancis," Antara News, last modified March 29, 2013, https://otomotif.antaranews.com/berita/365902/index.html. 159 Librairie Dialogues, "Le Batik Javanais, Sekar Jagad, "fleurs De L'un... - Gaspard De Marval, Galerie Saint-Jacques, Saint... - Ville De Saint-Quentin, Direction De La Culture," Librairie Dialogues, accessed January 4, 2019, https://www.librairiedialogues.fr/livre/6792932-le-batik-javanais-sekar- jagad-fleurs-de-l-un--gaspard-de-marval-galerie-saint-jacques-saint--ville-de-saint-quentin-direction- de-la-culture. 61 and their families. Nowadays the use of batik is increasingly diverse, from an economic aspect, the value of batik trade transactions in 2008 reached Rp 2.9 trillion, and in 2009 it increased to Rp 3.9 trillion. The number of batik consumers recorded 72.86 million people.160 This is certainly good if you can continue we increase, because it will further reduce poverty and unemployment in our country. The value of Indonesian batik exports in 2008 had reached 93.09 million US dollars before then fell to 76.01 million dollars in 2009 and again dropped to 69.24 million dollars in 2009. The largest market share of batik exports was the United States (US) that is as much as 35.6 percent, followed by Belgium by 15.2 percent, and Japan by 10.9 percent.161 America as the most important batik export market share for Indonesia, which has provided economic benefits to Indonesia. America imports tens of millions of dollars of authentic Indonesian batik products. In the United States, a lot of batik is exhibited in various cultural exhibitions, used in various fashion show events, batik artists and designers include batik in various international activities, even Indonesian batik is favored by First Lady Michelle Obama.

V.2.4 Introduction of Batik and Batik Extracurricular in Greece After experiencing a long, bleak period, batik once again dominated the world of fashion, even the international world. The various decorative styles also enrich batik cloth motifs that have long existed in Indonesia. With the success of UNESCO on October 2, 2009, a new spirit emerged to preserve and develop batik. The entry of batik in the list of world heritage follows the success of wayang kulit and keris, which first won the same recognition in 2003 and 2005. Besides that batik is considered a unique national cultural icon, has a symbol, and tradition and life in society. Batik to have a deep philosophy concerning the cycle of human life, because it was developed from generation to generation. A number of criteria are what make batik designated as a world heritage from Indonesia. Another requirement set by UNESCO is the protection

160 Kompas Cyber Media, "Kemenperin: Ekspor Batik Dari Indonesia Tembus Rp 41 Triliun," KOMPAS.com, last modified May 20, 2016, https://money.kompas.com/read/2016/05/20/082003326/kemenperin.ekspor.batik.dari.indonesia.tembu s.rp.41.triliun. 161 Ibid. 62 of the government for this cultural heritage. Among other things by including batik lessons at school. If we understand the recognition of UNESCO which has included Indonesian batik in a list of cultural representatives not intangible human heritage objects of cultural heritage of humanity, it is complete if education about batik does not only cover the method of batik, but also introduces the spiritual values in the pattern. What are the meanings and meanings of existing batik motifs, so that we can better understand the meaning and value of batik, not only use it as a daily garment, but we can save the cultural heritage by still using batik as cloth long as our ancestors did. The government has an important stake in the preservation and development of this batik, because it is not easy without the involvement of the government. Because of the uniqueness of batik, not only one ministry should be involved. The Ministry of Industry where batik is a commodity and the Ministry of National Education takes care of the preservation of batik cloth as a cultural heritage. In addition, more and more batik lovers groups are calling on the government through the Ministry of National Education to include ways to make batik in the basic education curriculum. Because according to existing sources, the students in Greece alone have made this batik activity as a curriculum activity in learning at school. In collaboration with the Indonesian Embassy in Greece, around 300 Bodossakio elementary school students in Kantza Athens, Greece, practiced directly the batik technique.162

In this activity the students were fascinated by the beauty of Indonesian batik. The batik class and presentation about Indonesia was initiated by Eleni Grafakou, a Greek citizen who received the 2008/2009 Year Scholarship, which is now one of the art teachers at the school.163

162 Mrusydan , "Ekstrakulikuler Batik Di Yunani," Good News From Indonesia, last modified 7, 2011, https://www.goodnewsfromindonesia.id/2011/10/07/ekstrakulikuler-batik-di-yunani.

63 163 Detik.com, "Membatik Jadi Ekstrakurikuler Di Athena," Detiknews, accessed March 9, 2019, https://news.detik.com/berita/d-1738609/membatik-jadi-ekstrakurikuler-di-athena. V.3. International Responses to Indonesia Batik

Batik Indonesia is the result of wealth that has been recognized in the international world.164 The uniqueness and distinctiveness of these batik motifs that make the fashion culture enthusiasts amazed and amazed will charm. Batik has existed since the time of the kingdom in Indonesia and is an art that is only contained within the scope of the royal family. The development of batik era can be used by anyone, anytime, anywhere and more and more unique creation involving batik.165 Batik does not only exist in Java, but some region in Indonesia also has peculiarities of each region.166 Batik motifs from various regions also have a variety of motives and has its own meaning. One of batik that has a variety of patterns and unique motifs is Batik Sumatra. Almost every province in Sumatra has its own motifs and batik patterns ranging from Aceh, Lampung, Palembang, , Padang, Bengkulu to Jambi. For some types of batik motifs Sumatra has been mentioned in some previous articles.

On October 2, 2010, batik was inaugurated as UNESCO's Unrecognized Cultural Heritage of Humanity (Representative List of the Intangible Cultural Heritage of Humanity).167 Having been recognized since 4 years ago as the

164 Peter Gelling, "Score One for Indonesia in the War Over Batik," The New York Times - Breaking News, World News & Multimedia, last modified September 14, 2009, https://www.nytimes.com/2009/09/15/world/asia/15iht-batik.html. 165 Kuntoro Mangkusubroto et al., Systems Science for Complex Policy Making: A Study of Indonesia (2016). 166 Global indonesian voice, "403 Forbidden," 403 Forbidden, accessed April 20, 2018, http://www.globalindonesianvoices.com/32645/indonesian-diversity-as-reflected-in-batik-patterns/.

64 167 UNESCO, "Indonesian Batik Day Celebrated in Style at the UNESCO Office Jakarta, 2 October 2014 | United Nations Educational, Scientific and Cultural Organization," UNESCO | Building Peace Intangible Cultural Heritage, batik is now growing in the eyes of world fashion. In addition, some world celebrities also look to wear a collection of typical Indonesian batik, including Jesica Alba, Drew Barrymore, Adele, Lenka, Bono, Bill Gates, and Lionel Richie.168 They are some international celebrities who became fans of typical batik Nusantara. World fashion designers also began to make Indonesian batik motifs as their mainstay collection. Not only artisans and textile entrepreneurs, the echo of batik in the international world is also more real because of the work of local designers. Names like Iwan Tirta, Ghea Panggabean, and Carmanita, are among the local designers who introduced batik to the world.169 Ghea Panggabean not only received a warm welcome in the country, abroad also praise continues to flow when Ghea packed a traditional cloth in a fashion show in Milan. In the city which is also one of the fashion mecca Ghea design is praised, one of them by General Manager of Alta Roma who is the Fashion and Fashion Designers Association in Rome, Italy.170 Meanwhile, Carmanita is also more active in marketing its batik- patterned designs in international stores such as the Harrods Department Store, London. In addition there, he also showcased his work in Europe, the United States, Africa, and Japan.171 Not satisfied just apply batik on a piece of cloth, some time ago asked Carmita to design a tire with motive Parang Slope. The tires are directly printed and manufactured in the International market. The diversity of batik is so fascinating fact not only the inspiration of local designers.172 Several times the fashion show of the world showcases the work of

in the Minds of Men and Women, accessed April 19, 2018, http://www.unesco.org/new/en/jakarta/about-this-office/single- view/news/indonesian_batik_day_celebrated_in_style_at_the_unesco_offic/. 168 HAP Putra, "PERANCANGAN DAN IMPLEMENTASI TEKNIK REDUKSI DATA MENGGUNAKAN TEKNOLOGI HDL-FPGA YANG," Publication of Petra Christian University, last modified 2018, http://publication.petra.ac.id/index.php/dkv/article/download/7134/6470.pdf. 169 Scribd, "Indonesia Batik : A Cultural Beauty," Scribd, accessed April 16, 2018, https://www.scribd.com/document/137007001/Indonesia-Batik-A-Cultural-Beauty. 170 O Jones, "10 of the Key Shows from Milan Fashion Week ? in Pictures," The Guardian, last modified September 24, 2018, https://www.theguardian.com/fashion/gallery/2018/sep/24/10-key- shows-from-milan-fashion-week-in-pictures. 171 Media.neliti.com, Neliti, last modified September 5, 2010, https://media.neliti.com/media/publications/115427-ID-transformasi-motif-batik-parang-pada-per.pdf.

65 172 Ibid. famous designers who use batik motifs. Like the Belgian designer Dries Van Noten, who used batik motifs for the Spring / Summer 2010 collection that he exhibited at Paris Fashion Week. Meanwhile, American designer Nicole Miller issued Resort Collection 2009, which uses batik motifs cloudy mega. Nicole explains if the inspiration comes from the souvenir of his assistant who just vacationed to Bali.173

V.4. Indonesian Diplomacy in Winning Batik as Intangible Cultural Heritage

Indonesian batik is officially be approved by UNESCO by including in the representative list as an intangible cultural heritage in the 4th session of the intergovernmental committee on intangible cultural heritage in Abu Dhabi.174 The world may have known batik as Indonesia's cultural heritage since a long time. Especially after 2009, UNESCO has stated that batik is a "heritage" that must be maintained and preserved existence. This is supported by facts and data that batik is one of the Eye Indonesian culture. UNESCO acknowledged Indonesian batik along with 111 cultural eye nominations from 35 countries, and which were recognized and included in the Representative List as 76 cultural.175 Previously in 2003 and 2005 UNESCO had recognized Wayang and Keris as the masterpiece of Oral and Intangible Cultural Heritage (Masterpieces of the Oral and Intangible Cultural Heritage of Humanity) which in 2008 were included in the Representative List.176 Indonesian Batik in the UNESCO Representative List of Intangible Cultural Heritage of Humanity was an international acknowledgment of one the Eye of Indonesia's cultural, so that it was expected to motivate and elevate the

173 Cassway, "2015 D&M Magazine," Issuu, accessed April 15, 2018, https://issuu.com/nick.cassway/docs/2015_d_m_magazine02 174 Kemenlu.go.id, "Ministry of Foreign Affairs - Batik Selected for UNESCO Cultural Heritage List," Loading., accessed February 2, 2019, https://www.kemlu.go.id/en/berita/berita- perwakilan/Pages/Batik-Selected-for-UNESCO-Cultural-Heritage-List.aspx. 175 UNESCO, "UNESCO - Indonesian Batik," Intangible Heritage Home - Intangible Heritage - Culture Sector - UNESCO, accessed January 4, 2019, https://ich.unesco.org/en/RL/indonesian-batik- 00170.

66 176 UNESCO, "UNESCO and the Declaration | United Nations Educational, Scientific and Cultural Organization," UNESCO | Building Peace in the Minds of Men and Women, accessed February 1, 2019, http://www.unesco.org/new/en/social-and-human-sciences/themes/human-rights-based- approach/60th-anniversary-of-udhr/unesco-and-the-declaration/. batik craftsmen and support efforts to improve welfare of the people.177 The Ministry of Culture and Tourism stated that the effort that Indonesian Batik was recognized by UNESCO involved stakeholders related to batik both the government, as well as craftsmen, experts, business associations and foundations / batik institutions and the wider community in the preparation of nominated documents.178 Indonesian Representatives in the member countries of the Jury (Subsidiary Body), they are The United Arab Emirates, Turkey, Estonia, Mexico, Kenya and and UNESCO-Paris, play an important role in introducing wider batik to members of the Subsidiary Body, so that they more carefully study Indonesian Batik nomination documents.179 UNESCO confirm Indonesian Batik and one other proposal from Spain as the best nominated documents and can be used as an example in the process of nominating intangible cultural eyes in the future. The Ministry of Culture and Tourism stated that the Indonesian Government's effort was a commitment as a party to the UNESCO Convention on the Protection of the Intangible Cultural Heritage, which had been in effect since 2003 and ratified by 114 countries. Indonesia ratified it in 2007.180 The convention emphasizes the protection of intangible cultural heritage, including traditions of speech and expression, rituals and festivals, handicrafts, music, dances, traditional art performances, and culinary. 181 Legacies that are still alive and handed down from generation to generation, give communities and groups a sense of identity and sustainability, and are considered as an effort to respect cultural diversity and human creativity. UNESCO acknowledged that Indonesian Batik had cultural techniques and symbols that became the identity of the Indonesian people from birth to death, babies carried with batik patterns with symbols that brought good luck,

177 Ibid. 178 Antaranews.com, "Batik Indonesia Resmi Diakui UNESCO," Antara News, last modified October 2, 2009, https://www.antaranews.com/berita/156389/batik-indonesia-resmi-diakui-unesco. 179 UNESCO, Intangible Heritage Home - Intangible Heritage - Culture Sector - UNESCO, accessed January 4, 2019, https://ich.unesco.org/doc/src/ITH-12-7.COM-5-EN-Rev..doc. 180 UNESCO, "UNESCO - The 2003 Convention Reaches 175 State Parties!," Intangible Heritage Home - Intangible Heritage - Culture Sector - UNESCO, last modified January 10, 2010, https://ich.unesco.org/en/news/the-2003-convention-reaches-175-state-parties-00255. 181 Ibid.

67 and the dead were covered with batik cloth. 182 Everyday clothes are used routinely in business and academic activities, while various other styles are used in wedding ceremonies, pregnancies, as well as in wayang, and various artistic performances. Batik cloth even plays a major role in certain rituals. Various Indonesian Batik patterns indicate a variety of influences from outside ranging from Arabic calligraphy, phoenix from China, cherry blossoms from Japan to peacocks from India or Persia.183 The batik tradition is passed down from generation to generation, batik is related to the identity of Indonesian folk culture and through various symbolic meanings of colors and patterns expressing the creativity and spirituality of the Indonesian people. UNESCO included Indonesian Batik into the Representative List because it had met the criteria, among others, it was rich in the symbols and philosophies of life of the Indonesian people contribute to the preservation of intangible cultural heritage at present and in the future.184

Furthermore, all components of the community together with the government carry out continuous measures for protection including raising awareness and capacity building including education and training activities. In preparing the nomination, the relevant parties have carried out various

182 UNESCO, "UNESCO - Indonesian Batik," Intangible Heritage Home - Intangible Heritage - Culture Sector - UNESCO, accessed January 7, 2019, https://ich.unesco.org/en/RL/indonesian-batik- 00170. 183 Kemenperin.go.id, "Kina Edisi Khusus," accessed January 6, 2019, www.kemenperin.go.id/download/4554. 184 UNESCO, "UNESCO - Indonesian Batik," Intangible Heritage Home - Intangible Heritage - Culture Sector - UNESCO, accessed January 7, 2019, https://ich.unesco.org/en/RL/indonesian-batik- 00170.

68 activities, including conducting research in the field, studies, and seminars. To discuss the contents of the document and enrich information freely and openly. The government has included Indonesian Batik into the Eye of Indonesian Culture Inventory List.185

Diagram 5.1 The Process of winning batik as intangible cultural heritage

CHAPTER VI

CONCLUSION

VI.1 Conclusion

185 UNESCO, "UNESCO and the Declaration | United Nations Educational, Scientific and Cultural Organization," UNESCO | Building Peace in the Minds of Men and Women, accessed February 1, 2019, http://www.unesco.org/new/en/social-and-human-sciences/themes/human-rights-based- approach/60th-anniversary-of-udhr/unesco-and-the-declaration/

69

Indonesia has abundant cultural wealth from Sabang to Merauke. However, many Indonesian cultures are claimed by other countries for example as Batik claimed by Malaysia. Amid the rampant recognition by other nations of indigenous Indonesian culture, news of the recognition of Indonesian batik as a world heritage can be a special gift to the Indonesian people. Batik is synonymous with Indonesia, but that does not mean that other countries cannot produce it. Countries like Malaysia, Singapore, and even China also produce batik with quite diverse motives. However it turned out that it did not make international recognition regarding Indonesian batik fade. Like awakening from a long sleep, claiming batik against Malaysia is like making a hard slap for Indonesia. In 2008 Malaysia made the recognition that batik is a Malaysian culture. The Indonesian government is not silent on the Malaysian claim. The Indonesian government also registered Batik into the list of cultural representatives not UNESCO human heritage objects or UNESCO-Representative List of Intangible Cultural Heritage. This effort to recognize Indonesian Batik by UNESCO involved stakeholders related to batik, both the government and craftsmen, experts, business associations and foundations / batik institutions and the wider community in the preparation of nominated documents. It is undeniable that Indonesia is very rich in its cultural diversity, this claim is not only the first or the second time, before batik was claimed by Malaysia, previously there were several cultures from Indonesia which were also claimed by Malaysia.

70 Indonesia has gone a long way to winning batik again. Through several processes and stages that cannot be separated from some parties who have helped. Including some other countries that have helped and also UNESCO as the main institution that helped Indonesia in patenting batik. Not only from within the country, but also involved several countries who also helped in the process of winning batik against Malaysia. UNESCO acknowledged that Indonesian Batik has cultural techniques and symbols that became the identity of the Indonesian people from birth to death, babies carried with batik cloth with symbols that bring good luck, and those who died were covered with batik cloth. UNESCO included Indonesian Batik in the Representative List because it had met the criteria, among others, were rich in the symbols and philosophies of life of the Indonesian people; contributing to the preservation of intangible cultural heritage at present and in the future. Batik tradition is passed down from generation to generation, batik is related to the identity of Indonesian folk culture and through various symbolic meanings of colors and patterns expressing the creativity and spirituality of the Indonesian people. Not only from UNESCO, President Susilo Bambang Yudhoyono also helped fight for batik, whose ownership was being seized by Malaysia. Not only that, the first lady Ani Yudhoyono also helped in the process of winning batik again. He also held a batik exhibition organized by the Indonesian government under the auspices of President Susilo Bambang Yudhoyono to make an exhibition of batik culture and also collaborate with the American president's younger sister Barack Obama in exhibiting several collections of batik cloth belonging to Obama's mother. The struggle of the Indonesian people in winning batik is not easy. A lot of things that Indonesia passed to win batik. Batik which is native Indonesian culture should not be ignored. The reason Malaysia claims batik is because Indonesia has never patented batik or prides itself on batik as its own.

71 Through this research, the author can provide advice to Indonesia that, Indonesia is very broad, stretching from Sabang to Merauke. It is time for Indonesia to pay more attention to its cultural heritage, especially the already apparent cultural heritage of Indonesia. Indonesia must further emphasize the culture of Indonesia and also proudly promote the cultures that belong to Indonesia. The author proposes to further expand the introduction of batik. Such as early recognition from elementary school, to make teachings of interest and talent about batik, and to be outside of the country of Indonesia, can make an exhibition about the diversity of batik in the international arena. Therefore, that the wider community and the whole world know that batik belongs to Indonesia.

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Winoto Sastro, "Batik Motif Yogyakarta: Batik Winotosastro: Traditional Batik," accessed April 10, 2018, http://www.winotosastro.com/batik/batikyogya.html.

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85 Yudha Satriawan, "Rombongan Desainer Italia Kunjungi Kampung Batik Solo," VOA Indonesia, last modified February 27, 2014, https://www.voaindonesia.com/a/rombongan-desainer-italia-kunjungi- kampung-batik-solo/1860357.html.

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86 APENDIX

Rules of Procedure in UNESCO

In the process of winning batik back through UNESCO. Indonesia must go through several regulations and procedures that must be fulfilled and passed by Indonesia. This is a regulation from UNESCO in conducting procedures to know that an object can be said to belong to that country. The following procedures and regulations must be passed:

I. Membership Rule 1 The Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage (The Intergovernmental Committee for the Protection of the Intangible Cultural Heritage, known as the "Intangible Heritage Committee" and hereinafter referred to as the "Committee", consists of States according to the agreement chosen for the Protection of the Intangible Cultural Heritage, hereinafter referred to as "agreement".) II. Sessions Rule 2 Ordinary and extraordinary sessions (The committee will meet at least once a year in regular sessions.) Rule 3 – Convocation (The Director General must notify the Committee Member State of the date, place and temporary agenda of each session, not less than sixty days in advance in the ordinary session and, if possible, not less than thirty days in advance in case of extraordinary sessions.) Rule 4 - Date and place of the session (The Committee will determine at each session, in consultation with the Director General, the date and place of the next session. The Bureau can, if necessary, modify the date and / or place, in consultation with the Director General.) III. Participants

87 Rule 5 – Delegations (Each Member State of the Committee must be represented by one delegate, who can be invited by experts, approved and experts. Member States The Committee will elect their representatives who are qualified in various fields of intangible cultural heritage.) Rule 6 - Organizations acting in an advisory capacity to the Committee (Non-governmental organizations with recognized competencies, which have been accredited for this purpose with predetermined criteria, can attend advisory capacity meetings.) Rule 7 - Invitation for consultation (The Committee may at any time invite to its public or private body sessions, as well as private persons, with recognized competencies in various fields of intangible cultural heritage, to consult with them on certain matters.) Rule 8 - Other participants (The Committee can authorize intergovernmental organizations other than the so-called public or private bodies and individuals, with recognized competencies in various fields of ICH, to attend future sessions as observers, at their written request. The committee can authorize these institutions, organizations or private persons to attend one session or several sessions, without reducing their right to limit the number of representatives per organization or institution.) IV. Agenda Rule 9 - Temporary agenda (The Director General must prepare a temporary agenda from the Committee sessions. The temporary agenda of the regular session of the Committee must include: (a) All questions that the Committee, in the previous sessions, had decided to place on it; (b) All questions submitted by the Committee Member Countries; (c) All questions submitted by States Parties to the Convention that are not Members of the Committee; (d) All questions submitted by the Director General.)

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Rule 10 - Adoption of the agenda (The committee must adopt at the beginning of each session of the agenda for the session.) Rule 11 - Amendments, deletions, and new items (The Committee can change, delete or add items to the agenda adopted if it is decided by two-thirds of the majority of Members present and voting.) V. Bureau Rule 12 - Bureau (The Bureau, which is held by its Chairperson, must meet as often as deemed necessary. Among the sessions the Committee will meet at UNESCO Headquarters. The Bureau may, if the Chair considers it appropriate, consult with correspondence, including electronic consultations.) Rule 13 - Election (In selecting the Bureau, the Committee must pay attention to the need to ensure a fair geographical representation and, as far as possible, balance between various fields of intangible cultural heritage.) Rule 14 - Duties of the Chairperson (In addition to the powers granted to him elsewhere by this Regulation, the Chairperson must open and close each Committee's plenary meeting. He will direct the discussion, ensure compliance with these Rules, give the right to speak, ask questions to vote and announce decisions. He will determine the points of order and, subject to these Rules, will ensure the smooth process and maintenance of order. He will not vote, but he can instruct other members of his delegation to vote on his behalf. He will carry out all other duties entrusted to him by the Committee.) Rule 15 - Replacement of Chairperson (The Chair must distance himself from carrying out his functions for all matters relating to elements of intangible cultural heritage that are in the territory of the State where he is a citizen.)

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Rule 16 - Reporting Replacement (If the Reporter is no longer representative of the Member of the Committee State or if he is for any reason unable to complete his term of office, he will be replaced by the Deputy Chair, after consultation with the Committee, for the remaining term of office.) VI. Conduct of business Rule 17 - Quorum (At the plenary meeting, a quorum consists of the majority of the Committee Member States. Neither the Committee nor its supporting body will decide on any matter unless the quorum is present.) Rule 18 - Public meetings (Meetings will be held in public unless otherwise determined by the Committee. The rules may not be suspended by the Bureau.) Rule 19 - Personal meetings (Every decision taken by the Committee at a private meeting must be presented in written form at the next public meeting. At each private meeting, the Committee will decide whether a summary of the notes and work documents from the meeting will be published. Documents produced from personal meetings must be published after a period of twenty years.) Rule 20 - ad hoc consultative bodies (The Committee can establish, on a temporary basis, any ad hoc consultative body deemed necessary to carry out its duties.) Rule 21 - Supporting bodies (In appointing additional members of the body, attention must be given to the need to ensure fair representation from various regions of the world.) Rule 22 - Sequence and deadline for speech (The Chair can limit the time allowed for each speaker if circumstances make this desirable.)

90 Rule 23 - Text of proposal (At the request of any Committee Member, supported by two other Members, discussions regarding substantive movements, resolutions or amendments will be suspended until the text is circulated in a language that functions for all Committee Members present.) Rule 24 - Division of proposals (Part of the proposal must be chosen separately if the Committee Member requests that the proposal be shared. Parts of the proposal approved in separate voting will then be included in the overall vote. If all parts of the operation of the proposal have been rejected, the proposal will be deemed to have been rejected as a whole.) Rule 25 - Voting about amendments (When an amendment to the proposal is moved, the amendment will be chosen first. When two or more amendments to a proposal are transferred, the Committee must first choose an amendment deemed by the Chairperson to be substantially removed from the original proposal, and then on the next most distant amendment removed from it and so on, until all the amendments have been voted.) Rule 26 - Voting on the proposal (If two or more proposals are related to the same question, the Committee will, unless otherwise decided, vote on the proposal in the order in which they are submitted. The Committee can, after each vote on a proposal, decide whether to vote on the next proposal.) Rule 27 - Withdrawal of proposals (A proposal can be drawn by the proposer at any time before the voting begins, provided that the proposal has not been amended. A withdrawal proposal can be reintroduced by other State Members of the Committee.) Rule 28 - Order points (Appeal can be submitted against the Chairperson's decision. The appeal must be immediately entered into the voting and the decision of the Chair will stand unless rejected.

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Rule 29 - Procedural movements (During discussions on any issues, Members of the State Committee can propose procedural motions: suspension or postponement of meetings, postponing debates or closing debates.) Rule 30 - Suspension or delay of meetings (During a discussion of any matter, the Member of the State Committee can remove the suspension or delay the meeting. Each such motion must be submitted to voting immediately and without discussion.) Rule 31 - Delaying debate (During discussions about any issues, a Member of the State Committee can move the postponement of the debate on the item being discussed. In removing the delay, the Member of the State must indicate whether he removed the delay due to death or to a certain time to be determined. In addition to the motion proposers, one speaker can speak in support, and one opposes, a motion.) Rule 32 - Closing of the debate (A Member of the Committee's State may at any time remove the closing of the debate, whether another speaker has indicated his desire to take part in the discussion. If the application is made for permission to speak out against closure, it can be given to no more than two speakers. The Chair will then submit a motion to close the voting and, if the Committee supports the motion, the Chair will declare the closing of the debate.) Rule 33 - Sequence of procedural movements (Subject to Rule 28, the following motions must take precedence, in the following order, for all proposals or motions before the meeting: (a) Freezing of meetings; (b) Postponement of meetings; (c) Postponement of debates over the questions discussed; (d) Closing the debate over the questions discussed.)

92 Rule 34 - Decision (The committee must make decisions and recommendations as deemed appropriate. The text of each decision must be adopted at the end of the discussion of the agenda item.) VII. Voting Rule 35 - Voting rights (Each State Member of the Committee shall have one vote in the Committee.) Rule 36 - Conduct during voting (After the Chairperson has announced the beginning of voting, no one shall interrupt the voting except a State Member of the Committee on a point of order in connection with the actual conduct of the voting. Rule 37 - Simple majority (Except where otherwise specified in these Rules, all decisions of the Committee shall be taken by a simple majority of the States Members present and voting.) Rule 38 - Counting of votes (For the purposes of these Rules, the expression “States Members present and voting” shall mean States Members casting an affirmative or negative vote. States Members abstaining from voting shall be regarded as not voting.) Rule 39 - Show of hands (Voting is usually done by raising a hand.) VIII. Secretariat of the Committee. Rule 40 - Secretariat (The Secretariat must carry out all other duties necessary to carry out the work of the Committee properly.) IX. Working languages and reports Rule 41 - Language worked (The working language of the Committee must be English and French. Every effort must be made, including through outside school funding, to facilitate the use of other official UN languages as working languages. Separately, the host country can facilitate the use of its own language.) 93 Rule 42 - Time limit for document distribution (Documents relating to submissions on the temporary agenda of each Committee session must be distributed to Committee Members in two working languages no later than four weeks before the beginning of the session. They must be provided in electronic form for accredited organizations, public or private bodies and individuals invited to the session and to States Parties that are not members of the Committee.) Rule 43 - Session report (At the end of each session, the Committee will adopt its report in the form of a list of decisions. This must be published in two languages that worked in the month following the closing of the session.) Rule 44 - Summary note (The Secretariat must prepare a summary record of the Committee meeting, for approval at the opening of the next session.) Rule 45 - Documentation communication (A list of decisions and records of the final summary of debates in public meetings must be sent by the Director General to Committee Members, all States Parties to the Convention, accredited organizations and public or private bodies and private persons invited to the session.) Rule 46 - Report to the General Assembly of States Parties and the UNESCO General Conference (The Committee must submit a report on its activities and decisions to the General Assembly of States Parties at each ordinary session and bring them to the attention of the UNESCO General Conference at each ordinary session) X. Adoption, amendments and suspension of rules of procedure Rule 47 - Adoption The Committee will adopt its Procedure Rules by a majority of two- thirds of Members present and voting (Article 8.2 of the Convention).

94 Rule 48 - Amendments The Committee may amend these Rules of Procedure, except when they reproduce the provisions of the Convention, with decisions taken at plenary meetings by a majority of two-thirds of the Members of the State present and voting, provided that the proposed amendments have been included on the agenda. Rule 49 - Suspension The Committee may suspend the application of one of these Rules of Procedure, except when they reproduce the provisions of the Convention, with decisions taken at plenary meetings by two-thirds of the majority of Members of the State present and voting.

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