DOCSLIB.ORG

A Contemporary Kebaya Collection for Young Adults

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Contemporary Kebaya Collection for Young Adults A Contemporary Kebaya Collection for Young Adults Over time, Kebaya gets more abundant in creativity and style. Hence, in reality, many Indonesian women do not understand the standard of wearing Kebaya (Hutabarat, 2014). At the launching of Mien R Uno’s book titled ‘Kebayaku’ Edward Hutabat (2014) are struck with his realization of youngster behaviour: From the observation described above, the use of Kebaya inclined as several people started to make use of them as a way of cultural preservation. Finding ways to incorporate them within their everyday life. The primary purpose of this thesis research is to raise awareness of Selasa Berkebaya movement towards young adults by modernizing a ready-to-wear collection. With a new style based on the traditional costume, the young generations will be interested to know more about their culture, which they will appreciate more and want to preserve their culture. For that reason, the author wants to make a collection inspired by Kebaya. Stongly believes that this will help people understand deeply about the value of their traditional costume and on how it holds a vast cultural heritage. The collection will perceive a high aesthetic value targeting young adults to develop and preserve the country’s culture in the future and incorporating Kebaya according to current trend and market. 6 A Contemporary Kebaya Collection for Young Adults LITERATURE REVIEW Kebaya, a long-sleeved, tailored over blouse paired with an ankle-length batik sarong (Brenner, 1998). Traditional clothes are a reflection of the people. When people think of Indonesia, the image that came to mind is beautiful Balinese dancers with beautiful fabrics and golden headdresses (“Indonesian Traditional Clothing”, n.d.). In the discussion of clothes and women, is like reflecting relations that is rich in meaning. Clothing shows one’s national and cultural identity. Kebaya, which has been known by the people of Indonesia as a national dress, and has become a cultural display of Indonesia, worn in various events such as graduations, weddings, and official state events (Cunningham, n.d.). Kebaya s’, and as stated Edward Hutabarat (2013), one of Indonesian fashion designer, believes that ‘simplicity’ is the soul of kebaya. Kebaya in terms of history is used not only by women in Java, but it is also worn by Dutch women during their colonization on the island. According to Forshee (2006) in the book ‘Culture and Customs of Indonesia’ Kebaya are set as a mark of class, in which it could differentiate the status between priyayi and ordinary people. Thus, it could be seen through textile materials and fabric of subordinates. During that time, kebaya is considered as an interpretation of social distinction including age and class, as well as an indicator of social norms and values. The clothing serves as social marker for both classes and individuals to build the identity people desire (Scholten, 1942). However, the use of Kebaya as an item of daily clothing has been abandoned by Indonesian women, preferring the use of modern clothes derived from western culture (Sugandy, n.d.) whereas western clothing has become a symbol of women’s modernity, specifically those who live in big cities. Kebaya is still considered to connect women with the past, as well as its values, including respect and subordination of those who have authorities (Nordholt, 2005). Kloppethenburg-Versteegh (1942), who is born and raised in the Indies, stated that 7 A Contemporary Kebaya Collection for Young Adults she admired the sarong and Kebaya as the most appropriate dress for our ladies in the Indies. Kebaya is considered as Indonesian women’s form of national identity. It could be observed through its image clothing, which in this case is a two- dimensional consisting of the garment structure, its kebaya blouse and traditional Indonesian batik in the form of long cloth that can be sarong or jarik. The fabric of Kebaya could be derived from either a modern fabric and or a traditional Indonesian fabric. The fabric giving meaning whereas Central Javanese are given a full expression towards its textiles, starting with foremost in the wedding ceremony. During the early days, traditional Kebaya is only seen in the court of the Javanese kingdom. Defined as loose clothing on the upper body used by women (Adriati et al., 2018) It is incorporated with kemben. However, the spread of Islam changes women’s dressing habits (Wulandari, 2017). As shown in a painting from 1598, it is illustrated that women in Java were still bare-chested, this shows the process of development of women’s clothing in Indonesia (Adriati et al., 2018). Stated in the article “The Kebaya: An Indonesian Traditional Dress for Women” (2017) Eversince, the kebaya has become the formal dress of Indonesia. Kebaya at that time predominantly uses mori fabric. Nonetheless, as time passes, numerous improvements are made to comply further with the current needs, often incorporated with silk and embroideries, done to add designs and colours to the attire. According to Mike Easey (2009), Marketing is an essential philosophy which defines the business strategy based on the analysis of potential customers. Corporation realizes the importance of meeting customers’ needs so that they can thrive. The concept of consumer behaviour would also have responded to the design and growth of modern marketing on influencing consumer decision (Blackwell, et al, 2001). Building a fashion brand requires strategy, knowing the purpose and its planning process. Having the ability to understand and use essential tools. The 8 A Contemporary Kebaya Collection for Young Adults fashion industry is very competitive, reputable and is a highly influential business (Garces, 2019). A variety of option for advertising is available. But however, analyzing the targeted market and planning the advertising strategy is crucial (Fibre2Fashion, 2014). An advertising powerhouse, Ogilvy (1982) stated that advertising reflects the mores of society, but it does not influence them. A research has revealed that young adult is a period where drastic transitions within the concept of thoughts and perceptions (Simpson, 2018). Young adult is generally defined as 18 to 25 years old, mostly the ones that heads to college away from home has the tendency to develop social skills from scratch. Needing to learn and adapt onto a radically different community (“American Academy of Pediatrics”, n.d.). Conceived as a transition phase from childhood to adulthood. Interpreted as modern industrial society, which highlights the productive working life (Weiler, n.d.) 9 .
Load more

Recommended publications
  • 1 SUMMARY the Shibori, Batik and Ikat Techniques Are Known As Resist
    SIMBOL ŞI TEHNICĂ ARHAICĂ-RAPEL ÎN CREAłIA CONTEMPORANĂ BITAY ECATERINA 1 SUMMARY The Shibori, Batik and Ikat techniques are known as resist dyeing techniques. „Shibori” is actually an old name of the Tie-dye technique, a widespread expression in the hippie communities of the 60’s – 70’s period, when this technique had a great success also among the fashion designers, making a spectacular comeback, after a long period of sporadic isolation in certain areas of the world, especially in Japan, Africa and South America. The first textiles found by archaeologists are so old that we may say that world history could be read in the nations’ textiles. The rise of the civilizations and the fall of the empires are woven and printed on the scarves and the shrouds of the great conquests main characters. Archaeological diggings revealed signs of these traditions of 5000 years old. Religion, traditions, myths, superstitions and rituals are closely related to the textiles belonging to many nations of Eastern Asia, Asia Minor, and of the Pacific Islands, their aesthetic value being, more than once, secondary. CHAPTER 1 THE SHIBORI TECHNIQUE The origin of the word “Shibori” is the verb “shiboru” which means to wring, to twist, to press. Even if “shibori” refers to a particular group of resist dyeings, the word’s origin suggests the cloth manipulation process and it can comprise modern methods of dyeing which involve the same type of cloth treatment, possibly without pigments or treatment with pigments applied by using totally different methods than the ancient ones. Shibori can be divided in many ways: according to the areas where it is used, such as Japan, China, India, Africa, Indonesia, South America or according to the details usesd in the technique.
    [Show full text]
  • Batik Wax Instructions
    Instructions Batik Wax Batik: A History Although its exact origin is uncertain, the earliest known batiks were discovered in Egyptian tombs dating back to the 4th century BCE. Wax-resist techniques were probably developed independently by disparate cultures throughout the ancient world. By the seventh century AD, patterning fabric using resists such as wax was a widespread practice throughout Asia and Africa and was perhaps most fully developed as an artform in Indonesia, where batik predates written records. By the thirteenth century, it became a highly respected art form and pastime for the women of Java and Bali, as recognizable motifs, patterns and colors became signifiers of one’s family and geographical area. Distinct styles and traditions proliferated and spread with the exchange of cultures through trade and exploration (see the “inland” and “coastal” batiks of Java, for instance — the two traditions couldn’t be more different). In the seventeenth century, as the world grew smaller, batik was introduced in Holland and other parts of Europe, where it became increasingly fashionable. Europeans and Americans traveling and living in the East encountered the ancient process and brought it back to their homelands — and spread it to colonies far away — where new traditions of batik branched out. Today, art schools across the United States and Europe offer batik courses as an essential part of their textile curricula. For more tips and techniques see www.jacquardproducts.com JACQUARD PRODUCTS Manufactured by Rupert, Gibbon & Spider, Inc. Healdsburg, CA 95448 | www.jacquardproducts.com | 800.442.0455 Batik Instructions Preparing and designing your fabric All new fabrics must be washed with hot soapy water, rinsed and dried to remove factory-applied sizings which may inhibit color penetration.
    [Show full text]
  • Textile Printing
    TECHNICAL BULLETIN 6399 Weston Parkway, Cary, North Carolina, 27513 • Telephone (919) 678-2220 ISP 1004 TEXTILE PRINTING This report is sponsored by the Importer Support Program and written to address the technical needs of product sourcers. © 2003 Cotton Incorporated. All rights reserved; America’s Cotton Producers and Importers. INTRODUCTION The desire of adding color and design to textile materials is almost as old as mankind. Early civilizations used color and design to distinguish themselves and to set themselves apart from others. Textile printing is the most important and versatile of the techniques used to add design, color, and specialty to textile fabrics. It can be thought of as the coloring technique that combines art, engineering, and dyeing technology to produce textile product images that had previously only existed in the imagination of the textile designer. Textile printing can realistically be considered localized dyeing. In ancient times, man sought these designs and images mainly for clothing or apparel, but in today’s marketplace, textile printing is important for upholstery, domestics (sheets, towels, draperies), floor coverings, and numerous other uses. The exact origin of textile printing is difficult to determine. However, a number of early civilizations developed various techniques for imparting color and design to textile garments. Batik is a modern art form for developing unique dyed patterns on textile fabrics very similar to textile printing. Batik is characterized by unique patterns and color combinations as well as the appearance of fracture lines due to the cracking of the wax during the dyeing process. Batik is derived from the Japanese term, “Ambatik,” which means “dabbing,” “writing,” or “drawing.” In Egypt, records from 23-79 AD describe a hot wax technique similar to batik.
    [Show full text]
  • Pergub DIY Tentang Penggunaan Pakaian Adat Jawa Bagi
    SALINAN GUBERNUR DAERAH ISTIMEWA YOGYAKARTA PERATURAN GUBERNUR DAERAH ISTIMEWA YOGYAKARTA NOMOR 87 TAHUN 2014 TENTANG PENGGUNAAN PAKAIAN TRADISIONAL JAWA YOGYAKARTA BAGI PEGAWAI PADA HARI TERTENTU DI DAERAH ISTIMEWA YOGYAKARTA DENGAN RAHMAT TUHAN YANG MAHA ESA GUBERNUR DAERAH ISTIMEWA YOGYAKARTA, Menimbang : a. bahwa salah satu keistimewaan Daerah Istimewa Yogyakarta sebagaimana ditetapkan dalam Pasal 7 ayat (2) Undang-undang Nomor 13 Tahun 2012 tentang Keistimewaan Daerah Istimewa Yogyakarta adalah urusan kebudayaan yang perlu dilestarikan, dipromosikan antara lain dengan penggunaan Pakaian Tradisional Jawa Yogyakarta; b. bahwa dalam rangka melestarikan, mempromosikan dan mengembangkan kebudayaan salah satunya melalui penggunaan busana tradisional Jawa Yogyakarta, maka perlu mengatur penggunaan Pakaian Tradisional pada hari tertentu di Lingkungan Pemerintah Daerah Daerah Istimewa Yogyakarta; c. bahwa berdasarkan pertimbangan sebagaimana dimaksud dalam huruf a, huruf dan b perlu menetapkan Peraturan Gubernur tentang Penggunaan Pakaian Tradisional Jawa Yogyakarta Bagi Pegawai Pada Hari Tertentu Di Daerah Istimewa Yogyakarta; Mengingat : 1. Pasal 18 ayat (6) Undang-Undang Dasar Negara Republik Indonesia 1945; 2. Undang-Undang Nomor 3 Tahun 1950 tentang Pembentukan Daerah Istimewa Jogjakarta (Berita Negara Republik Indonesia Tahun 1950, Nomor 3) sebagaimana telah diubah terakhir dengan Undang-Undang Nomor 9 Tahun 1955 tentang Perubahan Undang-Undang Nomor 3 Tahun 1950 jo Nomor 19 Tahun 1950 tentang Pembentukan Daerah Istimewa Jogjakarta (Lembaran Negara Republik Indonesia Tahun 1955, Nomor 43, Tambahan Lembaran Negara Republik Indonesia Nomor 827); 3. Undang-Undang Nomor 13 Tahun 2012 tentang Keistimewaan Daerah Istimewa Yogyakarta (Lembaran Negara Republik Indonesia Tahun 2012, Nomor 170, Tambahan Lembaran Negara Republik Indonesia Nomor 5339); 4. Undang-Undang Nomor 5 Tahun 2014 tentang Aparatur Sipil Negara (Lembaran Negara Republik Indonesia Tahun 2014 Nomor 6, Tambahan Lembaran Negara Republik Indonesia Nomor 5494); 5.
    [Show full text]
  • Shifting of Batik Clothing Style As Response to Fashion Trends in Indonesia Tyar Ratuannisa¹, Imam Santosa², Kahfiati Kahdar3, Achmad Syarief4
    MUDRA Jurnal Seni Budaya Volume 35, Nomor 2, Mei 2020 p 133 - 138 P- ISSN 0854-3461, E-ISSN 2541-0407 Shifting of Batik Clothing Style as Response to Fashion Trends in Indonesia Tyar Ratuannisa¹, Imam Santosa², Kahfiati Kahdar3, Achmad Syarief4 ¹Doctoral Study Program of Visual Arts and Design, Institut Teknologi Bandung, Jl. Ganesa 10 Bandung, Indonesia 2,3,4Faculty of Visual Arts and Design, Institut Teknologi Bandung, Jl. Ganesa 10 Bandung, Indonesia. [email protected] Fashion style refers to the way of wearing certain categories of clothing related to the concept of taste that refers to a person’s preferences or tendencies towards a particular style. In Indonesia, clothing does not only function as a body covering but also as a person’s style. One way is to use traditional cloth is by wearing batik. Batik clothing, which initially took the form of non -sewn cloth, such as a long cloth, became a sewn cloth like a sarong that functions as a subordinate, evolved with the changing fashion trends prevailing in Indonesia. At the beginning of the development of batik in Indonesia, in the 18th century, batik as a women’s main clothing was limited to the form of kain panjang and sarong. However, in the following century, the use of batik cloth- ing became increasingly diverse as material for dresses, tunics, and blouses.This research uses a historical approach in observing batik fashion by utilizing documentation of fashion magazines and women’s magazines in Indonesia. The change and diversity of batik clothing in Indonesian women’s clothing styles are influenced by changes and developments in the role of Indonesian women themselves, ranging from those that are only doing domestic activities, but also going to school, and working in the public.
    [Show full text]
  • Library Author List 12:2020
    SDCWG LIBRARY INVENTORY December 2020 SORTED BY AUTHOR Shelf Author Title Subject Location Abel, Isabel Multiple Harness Patterns Weaving Instruction Adelson, Laurie Weaving Tradition of Highland Bolivia Ethnic Textiles Adrosko, Rita Natural Dyes and Home Dyeing Dyeing Adrosko, Rita Natural Dyes in the United States Dyeing Ahnlund, Gunnila Vava Bilder (Swedish Tapestry) Ethnic Textiles Albers, Anni On Designing Design Albers, Anni On Weaving General Weaving Albers, Josef Interaction of Color Design Alderman, Sharon D. Handwoven, Tailormade Clothing Alderman, Sharon D. Handweaver's Notebook General Weaving Alderman, Sharon D. Mastering Weave Structures Weaving Patterns Alexander, Marthann Weaving Handcraft General Weaving Allard, Mary Rug Making Techniques and Design Rug Weaving Allen, Helen Louise American & European Hand Weaving General Weaving American Craft Museum Diane Itter: A retrospective Catalog American Tapestry American Tapestry Biennial I Tapestry Alliance American Tapestry American Tapestry Today Tapestry Alliance American Tapestry Panorama of Tapestry, Catalog Tapestry Alliance American-Scandinavian The Scandinavian Touch Ethnic Textiles Foundation Amos, Alden 101 Questions for Spinners Spinning 1 SDCWG LIBRARY INVENTORY December 2020 SORTED BY AUTHOR Shelf Author Title Subject Location Amsden, Charles A. Navaho Weaving Navajo Weaving Anderson, Clarita Weave Structures Used In North Am. Coverlets Weave Structures Anderson, Marilyn Guatemalan Textiles Today Ethnic Textiles Anderson, Sarah The Spinner’s Book of Yarn Designs
    [Show full text]
  • Indonesian Textiles Treasures on View at SFO
    NEWS September 16, 2005 FOR IMMEDIATE RELEASE: Contact: Jane Sullivan Manager Marketing and Communications (650) 821-5123 SF-05-41 Indonesian Textiles Treasures on View at SFO SAN FRANCISCO -- A new exhibition at San Francisco International Airport, Threads of Tradition: Textile Treasures of Indonesia, brings the world of traditional Indonesian textiles to Airport passengers and visitors. The exhibition interlaces over forty objects, photographs and maps to tell the story of traditional Indonesian textile arts such as the resist-dyeing techniques of batik and ikat, and the embellishment techniques of supplementary warp and weft, couching, embroidery, and mirror work. Along the way, Threads of Tradition explores the extraordinary number of designs and motifs incorporated in traditional Indonesian clothing and ceremonial fabrics. Examples of these traditional textile arts are presented through a variety of objects. Sarongs, kain panjangs (long cloths for men and women), tapis (woven skirts) and ritual cloths demonstrate the artistry and workmanship for which Indonesia is known. Threads of Tradition is on view twenty-four hours a day through March 13, 2006, free of charge. The exhibition is located pre-security on the Departures/Ticketing Level of the International Terminal. The San Francisco Airport Museums program was established by the Airport Commission in 1980 for the purposes of humanizing the Airport environment, providing visibility for the unique cultural life of San Francisco, and providing educational services for the traveling public. Today, the San Francisco Airport Museums features approximately twenty galleries throughout the Airport terminals displaying a rotating schedule of art, history, science, and cultural exhibitions, as well as the San Francisco Airport Commission Aviation Library and Louis A.
    [Show full text]
  • The Involvement of Local People and Culture in Mesastila Resort and Spa, Magelang, Indonesia
    Digital Press Social Sciences and Humanities The Involvement of Local People and Culture in Mesastila Resort and Spa, Magelang, Indonesia Tuti Elfrida and Anik Nuryani Proceeding of Indonesia Heritage Tourism Forum 2019 (IHTF 2019) Dewi Pratika Ayu Dhira Pradati (eds) Digital Press Social Sciences and Humanities 4: 00018 (2020) https://doi.org/10.29037/digitalpress.44365 Proceeding of Indonesia Heritage Tourism Forum 2019 (IHTF 2019) The Involvement of Local People and Culture in Mesastila Resort and Spa, Magelang, Indonesia Tuti Elfrida*, Anik Nuryani Diploma Tourism Program, Vocational College, Universitas Gadjah Mada, Yogyakarta, Indonesia *e-mail: [email protected] Abstract Mesastila Resort and Spa is one of the tourist accommodations in the middle of the countryside and has a relatively high level of foreign visitors. Interestingly, there are several daily activities that involve culture and local people living around the resort. Those activities are managed and presented at the resort to be attended by guests staying at the resort The research explores data about the practice of involvement of local people and culture. Furthermore, this research also looks at the experience of local people in their involvement in providing service at tourist accommodation. The observation was carried out by participating in all activities involving local communities and looking at how local communities in this context host the guests and visitors. Meanwhile, interviews were also conducted with the local communities involved and management staff. The result of this study confirms that local culture and community are able to become an important element in providing activities and attractions within the scope of tourist accommodation.
    [Show full text]
  • An Analysis of the Characteristics of Balinese Costume - Focus On The Legong Dance Costume
    Print ISSN 1229-6880 Journal of the Korean Society of Costume Online ISSN 2287-7827 Vol. 67, No. 4 (June 2017) pp. 38-57 https://doi.org/10.7233/jksc.2017.67.4.038 An Analysis of the Characteristics of Balinese Costume - Focus on the Legong Dance Costume - Langi, Kezia-Clarissa · Park, Shinmi⁺ Master Candidate, Dept. of Clothing & Textiles, Andong National University Associate Professor, Dept. of Clothing & Textiles, Andong National University⁺ (received date: 2017. 1. 12, revised date: 2017. 4. 11, accepted date: 2017. 6. 16) ABSTRACT1) Traditional costume in Indonesia represents identity of a person and it displays the origin and the status of the person. Where culture and religion are fused, the traditional costume serves one of the most functions in rituals in Bali. This research aims to analyze the charac- teristics of Balinese costumes by focusing on the Legong dance costume. Quantitative re- search was performed using 332 images of Indonesian costumes and 210 images of Balinese ceremonial costumes. Qualitative research was performed by doing field research in Puri Saba, Gianyar and SMKN 3 SUKAWATI(Traditional Art Middle School). The paper illus- trates the influence and structure of Indonesian traditional costume. As the result, focusing on the upper wear costume showed that the ancient era costumes were influenced by animism. They consist of tube(kemben), shawl(syal), corset, dress(terusan), body painting and tattoo, jewelry(perhiasan), and cross. The Modern era, which was shaped by religion, consists of baju kurung(tunic) and kebaya(kaftan). The Balinese costume consists of the costume of participants and the costume of performers.
    [Show full text]
  • African Commemorative Fabric: More Than Clothing
    riendsNEWS F Fa l l 2 014 UNIVERSITY OF wisconsin–madison LIBRARIES Co-author Emilie Songolo (left) and her mother Hand-painted mannequins advertise merchandise at a cloth vendor’s stall at the Central Market, Mrs. Emilie Nguidjol in commemorative textile Kumasi, Ghana. dresses. African Commemorative Fabric: More than Clothing Emilie Songolo, Senior Academic W–Madison Libraries are fabrics call attention to and celebrate Librarian, UW–Madison Urepositories for more than printed political events and persons, religious and Mary Hark, Associate Professor of materials. One such library is the educational groups, and much more. Design Studies, UW–Madison Ruth Ketterer Harris Library, which is When used as a textual and visual dedicated to the study of fabrics and document, the fabric becomes a vehicle design. Books about and samples of to commemorate an event or to celebrate textiles from the United States and a person’s life or achievement. One does many other countries can be found at not need to know how to read in order to this library located in the School of understand the messages found in these Human Ecology in Nancy Nicholas Hall. textiles. In societies where a large portion Another growing UW collection is digital of the population cannot read, the visual and features African Commemorative elements enable everyone to share in the Fabrics. It is accessible through the UW– reception and transmission of the message Madison Digital Image Collection. More that is being conveyed. In this way, the information about these collections is fabric also serves to preserve historical available in the accompanying sidebars.
    [Show full text]
  • Indonesian Stories and Art Primary Education Resource
    Indonesian Stories and Art Primary Education Resource 1 CONTENTS 3 Indonesian stories 3 Mahabharata 4 Ramayana 5 Relevant works of art 5 Indonesian textiles 10 Batik technique 11 Wayang puppets 13 Indieguerillas 14 Indieguerillas colouring sheet Javanese people Ceremonial cloth [kain batik] [or possibly a nobleman’s skirt cloth] late 19th century (detail), cotton, natural dyes; hand-drawn batik, 106.5 h x 260.0 w cm, National Gallery of Australia, Canberra, purchased 1984. 2 INDONESIAN STORIES Mahabharata When Bima and his brothers (the Pandawa) are tricked by their cousins (the Kaurava) during a dice game The art of Indonesian textiles and puppet theatre has The Mahabharata is a story about the struggle for and sent into exile, Bima decides to establish his own traditionally depicted episodes from the ancient Hindu power between two groups of cousins, the Kaurava kingdom in the forest of Marta. Unfortunately Marta epic poems the Ramayana and the Mahabharata. and the Pandawa. In the story, the Kaurava succeed is inhabited by frightening spirits and ogres, ruled by a in tricking their cousins into betting their kingdom in a powerful king. Bima’s brother, Arjuna, follows him into game of dice. The Pandawa lose and are sent into exile the forest to protect him. Bima begins felling trees in the for thirteen years, but on their return, the Pandawa are forest but as one tree falls another rises in its place. determined to win back their kingdom and they wage The powerful King of Ogres consumes human flesh and war against the Kaurava. The conflict carries on for so finds great joy in human sorrow.
    [Show full text]
  • Habitus of Culture: Retaining Batik's Identity Amidst the Modernization
    Habitus of Culture: Retaining Batik’s Identity amidst the Modernization Kamsidjo Budi Utomo. Ebnan Syarif, Universitas Negeri Semarang [email protected] Abstract Amidst the rapid modernization, Batik is now considered old-fashioned and less favored; as an icon of traditional textile art, Batik has been inferior in keeping up with current demands of a so-called “modern” society. The quick-spreading fad of kekinian (or „trendy‟, „hype‟) has been more familiar to the younger generation. This phenomenon calls for a critical outlook on the “metaphysics of presence” that lays its foundation on the principle of aesthetics. To this growing lifestyle, perfections in life are achieved by expediency and pragmatism. Contrary to that, batik offers traditionalistic, symbolic approach of representing meaning; therefore, it becomes less popular compared to the recent trends. This study, however, sees the relevance of raising the discourse of batik in the midst of recent trends by approaching it from the lens of cultural pluralism that highlights its emphasis on a nation‟s “character”. However, in lieu of mere attempt of “reviving” the relevance of batik, this study aims further to discuss batik‟s true nature and the development of its existence throughout the advancement of culture and science. Keywords : Batik Education, Habitus of Culture, Philosophy of Batik 1. Batik’s motifs There has been much debate over the history of batik: its origins, motifs, and dyeing techniques. People all over the world, from Latin America, up to India and Indonesia‟s neighbor, Malaysia, has been claiming about their respective cultures to be the birthplace of batik as one of the oldest fabric tie-dyeing techniques.
    [Show full text]