Pertanika J. Soc. Sci. & Hum. 28 (2): 1525 - 1538 (2020)

SOCIAL SCIENCES & HUMANITIES

Journal homepage: http://www.pertanika.upm.edu.my/

Pangandaran Batik as a Distinctive Batik Style from the East Priangan Region of West

Agus Nero Sofyan, Ekaning Krisnawati* and Tajudin Nur Department of Linguistics, Faculty of Cultural Sciences, Universitas Padjadjaran, 45363 Sumedang,

ABSTRACT The paper discusses Pangandaran batik as a distinctive batik style from East Priangan Region, Indonesia. It aims to uncover the distinctive characteristics and the local wisdom as the cultural wealth of Pangandaran. Data were collected through direct observation and interviews with the Head of Batik Kodja Craftsmen of Pangandaran and an artist of Badud and Ronggeng Gunung. It is revealed that Pangandaran batik style has several substantial differences from other batik styles in the East Priangan Region of West Java, and the local wisdom behind the Pangandaran batik style is reflected in the depiction of the Badud and Ronggeng Gunung as iconic art forms in the batik as well as in the sea- based life of Pangandaran people. Keywords: Batik, distinctive, East Priangan, Pangandaran, style, West Java

INTRODUCTION a wider dimension, culture’s world is a world Culture can be understood as a set of of symbols. As symbolic beings, humans systems that comprise ideas, symbols, and think, feel, and act in accordance with values as products of human creativity and certain symbolic expressions which carry behavior. It is therefore not an exaggeration certain meanings. This notion resonates to say that humans are “symbolic beings”. In with Cassirer (1944), who asserted that such symbolic expressions characterize humans and thus making them different from other beings. At other times humans ARTICLE INFO Article history: can also be understood in terms of “animal Received: 08 April 2019 Accepted: 19 February 2020 symbolism”. Humans are symbolic beings. Published: 26 June 2020 That is, humans make use of certain symbols E-mail addresses: [email protected] (Agus Nero Sofyan) to create a set of cultural values in which [email protected] (Ekaning Krisnawati) language, myths, religion, belief, art, and [email protected] (Tajudin Nur) * Corresponding author knowledge reside.

ISSN: 0128-7702 e-ISSN 2231-8534 © Universiti Putra Malaysia Press Agus Nero Sofyan, Ekaning Krisnawati and Tajudin Nur

During the development of culture, Malaysian culture. The matter was brought human and art become inseparable from one up to UNESCO, which finally came up another. Art and human and art have always with a settlement on 2 October 2009 that coexisted along the path of civilization. Art batik was an integral part of the Indonesian manifests itself or is manifested through or culture. Following the settlement, it was in verbal expressions, body movements, decided that the date 2 October was to be or physical objects. In a more complex commemorated each year as the National context, art has to do not only with aesthetics Batik Day (Sunarya, 2013). but also with symbolic or non-symbolic Batik has high historical, cultural, signification. artistic and aesthetic values. Etymologically, In the context of the developing culture the word ‘batik’ originates from the Javanese of a nation, crafts with all their aesthetic words ‘amba’ meaning ‘to draw’ and ‘titik’ values contain symbols that reflect the meaning ‘dot’. Thus, batik means pictures or norms and cultural values of the ethnic patterns drawn on a piece of cloth by using group to which that culture belongs. In other dye-resistant wax (Yudoseputro in Dyna, words, the crafts produced by a culture are 2010). In other words, it is a technique of among the most important elements that applying hot wax with a pen-like tool called contribute to the construction of the identity canting to form patterns from dots and lines. and cultural life of the nation to which the The syllable ‘tik’ in the word batik denotes culture belongs. In Indonesia, for example, that the word deals with an activity to create batik is an iconic traditional craft that is delicate, intricate, detailed, and visually known worldwide. In the past, classic batik beautiful works of art. styles were commonly used symbolically As decorative cloth, batik plays an to signify people’s position, class, or rank. important role in traditional and national Studying batik, therefore, means exploring ceremonies. The role that batik plays reflects how its function as a cultural signifier is its important role as a national cultural understood by people. heritage that is also widely known in the As a part of the Indonesian national international world. There are many batik culture, batik has also become a part of the styles and motifs. The distinct characteristics Indonesian people’s daily life. Historically, of a batik style or motif serve as a marker batik has since the Majapahit period until that identifies its origin. For the Javanese today become inseparable from people’s batik contains ornamental visuals and life. Factually, batik is an original cultural depicts the life saying and values which inheritance of Indonesia. Unfortunately, represent cultural identity (Tresnadi & however, the lack of effort to protect and Sachari, 2015). preserve this national cultural wealth has As explained above, batik is the art resulted in a cultural dispute that centered of drawing patterns on a piece of cloth on a claim that batik was a part of the using canting as a stylus and hot wax

1526 Pertanika J. Soc. Sci. & Hum. 28 (2): 1525 - 1538 (2020) Pangandaran Batik as a dye-resist agent. Batik making also living in Pangandaran view and understand involves a dye-resist process in which Pangandaran batik and their characteristics, the cloth is submerged into a dye bath. and their knowledge about the specific Considering the meticulous, painstaking, motifs that differentiate Pangandaran batik and seriousness required in batik making, style from those of others. With regard to it is understandable why batik is considered its spatial aspect, the study focuses on the as a craft with very high aesthetic values. batik style found in Pangandaran Regency. A number of studies have been Conceptually, the Pangandaran batik conducted on batik, batik motifs, meanings, art system is part of the Sundanese culture, and the relation between batik and the particularly the culture of the Pangandaran socio-cultural condition of the place from people. Pangandaran batik art has been which it comes. A study by Sunarya (2010), handed down from one generation to for example, discusses the aesthetics and another by means of both oral and written identities related to modern East Priangan transmission (Djelantik, 1999). As a result, batik style. Sunarya et al. (2011) aimed to there is an existing body of literature on map modern batik designs in East Priangan the types and methods of Pangandaran in the context of the creative industries in batik making currently practiced. However, Bandung. The two studies above highlight further studies, including ours, are still the potential cultural values of East Priangan needed to fill the gaps left by previous ones. batik as part of West Java batik style. Another study by Krisnawati et al. (2019) The Pangandaran Batik: A Historical elucidated the motifs of Banjar batik, which Overview represents the identity of Banjar City. They The birth of the Pangandaran batik cannot argued that batik motifs depicted in batik be separated from the history of the birth of cloth were a means of identity exhibition. Pangandaran itself as a new regency in West Our present study focuses on Java. Pangandaran Regency proliferated Pangandaran batik as a distinctive batik from , West Java. Originally, style from the East Priangan region of West Pangandaran was one of the sub-districts Java. In this context, the study therefore, under the administrative region of Ciamis aims to: 1) explore Pangandaran batik Regency. Pangandaran has always been motifs and how they are different from those associated with Pananjung as the original of the other regions; 2) explore the local birthplace of Pangandaran. Pananjung wisdom inherent in the Pangandaran batik village was inhabited by fishermen that art and their relation to the cultural wealth belonged to the Sunda tribe. Since the arrival of the Pangandaran people. In this study, we of the first inhabitants, more and more focus on two scopes, namely material and fishermen moved and settled in Pananjung. spatial aspects. The material aspect includes Fishermen were attracted by the mild waves how Sundanese people, especially those of the Pangandaran Sea, which made it easy

Pertanika J. Soc. Sci. & Hum. 28 (2): 1525 - 1538 (2020) 1527 Agus Nero Sofyan, Ekaning Krisnawati and Tajudin Nur for them to catch fish. Another factor that understanding of matters that are drew people to Pananjung was the beautiful substantially related to the topic of and fertile nature. As more and more people the study. The results of the library settled there, Pananjung became densely research are then used as a basis populated by people who earned their living to draw a conceptual and material primarily from the sea. framework for the study and as The motto of Pangandaran Regency references for data analysis. is “Jaya Karsa Makarya Praja”. This (b) Direct observation. Joegensen philosophical dictum means victory and (2001) in Idrus (2009) explains that excellent ideas in development. The word direct observation or participation ‘makarya’ itself means ‘to develop’, can be understood as an initial ‘to erect’, and ‘to perform’ something foundation. Its method involves aesthetic or grand. ‘Praja’ means a strong collecting data from real situations nation or country. Pangandaran Regency faced by informants or research develops its region based on the potentials subjects in the field area of a study. of the coastal areas it has. It adopts a coast- In the study, direct observation was based development policy. In terms of paid to the motifs of Pangandaran culture, Pangandaran also bases its cultural batik in Pangandaran Regency, development on its natural potentials. Thus, West Java, Indonesia from January culture and nature become inseparable in the 25-30, 2019. context of Pangandaran development. (c) Interviews with key informants Pangandaran is among the provinces in including key resource people, West Java with the most progressive pace community members who are of development. As one of the youngest directly involved in the batik regencies in West Java, Pangandaran industry. Interviews are conducted struggles continuously to improve its by asking a set of structural, living quality, environment, and people. systematic, and open questions that Pangandaran progressiveness is reflected, enable the gathering of information as explained above, in the philosophical about the underlying elements meaning of its motto. in the cultural knowledge of the informants. For the research, an METHOD interview with Mr. Rusdaya Saleh The data were obtained from fieldwork in Hidayat, A. Md., K. L., 61 years Pangandaran, West Java Province. The study old, was conducted on January 27, follows the following procedure: 2018, at his gallery at Jalan Raya (a) Library research. The process of the Raya Cijulang Blok Garunggang study begins with library research to RT 7 RW 1 Desa Kondangjajar obtain a holistic and comprehensive Cijulang District, Pangandaran

1528 Pertanika J. Soc. Sci. & Hum. 28 (2): 1525 - 1538 (2020) Pangandaran Batik

Regency, West Java. He was the also still remains whether there were once Head of Batik Kodja Craftsmen of any originally Sundanese decorative motifs. Pangandaran. Another interview Information about old Sundanese batik style about the values of future batik is still obscure. Suryalaga (2010), however, motifs was conducted with Mr. argued that the word euyeuk primarily meant Adang as an artist of Badud and the best value that an object had and the Ronggeng Gunung on January 26, motifs resulting from the creative energy of 2018. the Sundanese people. The data are analyzed by using a Modern Priangan batik has developed qualitative method. In other words, the since the 20th century in a number of analysis focuses on the general patterns and batik centers, namely Ciamis (Cikoneng), behavior of the data, which are affected and Tasikmalaya (Sukaraja, Cihideung, present together with their contexts (Asher, Cipedes), and Garut (Tarogong). Each 1994 in Arimi, 1998). center has its own style of motifs, hence the terms such as Dermayon, Trusmian, RESULTS AND DISCUSSION Garutan styles (Rosidi et al., 2000). East Batik is an art that has been practiced Priangan modern batik style combines and developed in Pangandaran for a long foreign decorative style and the traditional time as evident in a number of ancient wastra motifs (Soemantri et al., 2002). manuscripts such as the “Siksa Kanda ng Such combination is commonly found in Karesian” manuscript (Sunarya, 2010). More East Priangan batik styles, including the investigation still needs to be conducted to Tasikmalaya, Garut, and Ciamis styles. search, collect, and compile more data from Garutan batik is known for its geometric currently scattered sources. (ceplok) sido and umbrella patterns with Batik has been existing in Priangan additional stylized leaf ornaments. The since a very long time ago. It can be seen two main patterns of the Garutan batik are from the existence of some Sundanese Sidomukti Payung and Merak Ngibing. The words that describe the concept of batik, Tasikan batik style differs in patterns from batik making, and batik maker. “Siksa those of the Garutan style. The Tasikan batik Kanda ng Karesian”, an ancient Sundanese patterns mostly feature non-geometric floral manuscript, mentions the word euyeuk patterns, such as those found in the including (batik) and pangeuyeuk (batik master/ Daun Sampe Cikur and Kawung Peuteuy artist) (Suryani & Marzuki, 2005). Yet, batik patterns. The Ciamisan style also has there has not been any clear and convincing its own distinct characteristics. It uses both evidence as to whether the art, style, motif, geometric and non-geometric patterns, technique, and production referred to by primarily stylized forms of buildings and the term euyeuk are similar to those of the cigars. batik art generally known today. A question

Pertanika J. Soc. Sci. & Hum. 28 (2): 1525 - 1538 (2020) 1529 Agus Nero Sofyan, Ekaning Krisnawati and Tajudin Nur

The Pangandaran batik products currently selected and adopted as the official batik available are a form of cultural expression motifs of the Pangandaran Regency. Among of the values of simplicity, modesty, and the 20 shortlisted designs, only three togetherness which Pangandaran people winning designs, namely the Hurang Windu, uphold. The Pangandaran coastal batik Ocean, and Sea Product motifs, qualified motifs are closely related to the nature of for product verification. The other designs Pangandaran itself. The motifs are stylized were also produced industrially, though from “nature and nature-related activities: not officially, by batik makers in Kodja the sea, fisherpeople, fishing activities, (Kondang Jajar), one of the existing batik coconut trees, sea waves, fish, shrimp, squid, centers in Pangandaran. The philosophy of seaweed, sea horse, etc.” (Kudiya, 2014). the batik produced in Kodja is based on the The phase of the development of the five pillars of Islam and the five principles Pangandaran batik style is in line with the of the Pancasila ideology of the Indonesian development of Pangandaran itself as a new state, as reflected in the five phonemes /k/, regency in West Java. The Pangandaran /o/, /d/, /j/, and /a/ forming the word ‘Kodja’. batik has undergone at least three main The Pangandaran batik style comes with phases of development: (1) Ciamis batik several substantial characteristics that make style phase; (2) transitional phase, and (3) it distinctive from the other East Priangan autonomous phase as a new regency. In batik styles. The batik style is known for the first phase, there were still no distinct its emphasis on its locality as a region rich characteristics. At that time Pangandaran in natural resources, particularly water and was still an administrative part of Ciamis. marine resources. It is understandable, The style, therefore, was still heavily therefore, that the Pangandaran decorative influenced by the Ciamis style. In the second patterns are identical with those found in phase, the Pangandaran style began to take its nature, sea, and beaches. Stylized forms shape, departing from the Ciamisan style. of marine fish, coconut tree, squid, are This phase coincided with the process of among the recurrent patterns found in the separation of Pangandaran from Ciamis Pangandaran batik style. It is significantly Regency. It was at the beginning of the third different from north coastal batik known phase that the Pangandaran batik started to as Dermayon and Trusmian, which are develop its distinct production method and influenced by Chinese, Arabic, and European that the name Pangandaran batik came to cultures (Casta & Taruna, 2008). be used. The Pangandaran batik was born Local Wisdom in the Pangandaran on October 4, 2015, when a contest on Batik of Local Art and Culture Pangandaran batik design was held by the The local wisdom of the Pangandaran batik Pangandaran Regency Tourism Service is reflected among others in the efforts to Office. Twenty out of thirty designs were preserve the iconic local art and culture

1530 Pertanika J. Soc. Sci. & Hum. 28 (2): 1525 - 1538 (2020) Pangandaran Batik in Pangandaran, including the badud and function as public entertainment, however, ronggeng gunung art forms. Currently, work remains. Today, Badud has become more is underway to create a special Pangandaran widely known. Badud artists are often batik motif. The design will include stylized invited to perform in Jakarta, Bandung, and forms inspired by the Badud and Ronggeng several other cities in Indonesia. There are, Gunung art forms. The relevance of the however, concerns that Badud will lose its Badud and Ronggeng Gunung art forms to popularity among the younger generation the new set of Pangandaran batik patterns because of the massive influences of more currently being designed shall be described modern forms of art. Adang (personal briefly as follows. communication, January 26, 2018), an Badud is the name of an art performance artist of Badud and Ronggeng Gunung said, in which some accompanying traditional “In the beginning, Badud served as folk musical instruments, including dogdog entertainment. Gradually it develops into a (drums) and angklung, are used. Badud form of art performed in various events such is usually performed just before harvest as circumcision, wedding, gusaran, harvest time comes. In its later development, time. This form of art gradually loses its however, Badud is also performed during popularity because of modern influence.” circumcision, gusaran, and turun mandi Ronggeng Gunung, as another art ceremonies. form to be depicted in Pangandaran batik, As one of the existing forms of art derives from the word ronggeng meaning popular among the Sundanese communities a female with the ability to sing and dance in East Priangan, Badud continually comes and gunung meaning a high plateau. Thus, into contact with elements of other forms of Ronggeng Gunung is a female singer and art. This can be seen in the introduction of dancer from a high plateau. A ronggeng the mask and magic debus art. Historically, may serve as a leader in rituals requiring such fusion has always taken place not the existence of ronggeng gunung art form without any aesthetic considerations. The (Herawati, 2005, in Thresnawaty, 2016). In introduction of debus, for example, began an interview with Adang, he explained: when badud artists wanted to make the art form more varied, beautiful, and attractive. Ronggeng Gunung was initially This makes Badud more open to accept performed to entertain royal guests, other elements of art. but now it is used as sea offerings, sea The traditional art form of Badud feast, Islamic New Year celebration, began as public entertainment. Badud was and cultural festival. It is depicted performed during wedding, circumcision, in batik motif to popularize and harvest, and planting celebrations. Later, preserve Pangandaran people’s Badud began to be performed during culture. Motifs in Pangandaran public holidays, for example as part of the batik consists of Pangandaran’s sea national Independence Day celebration. Its products and culture.

Pertanika J. Soc. Sci. & Hum. 28 (2): 1525 - 1538 (2020) 1531 Agus Nero Sofyan, Ekaning Krisnawati and Tajudin Nur

According to Raspi as the maestro of delicious and popular menu. Most Ronggeng Gunung, vocal practice with high importantly, no other countries notes and dance are essential in Ronggeng should claim this, so Honjam is a Gunung dance as it may last from 2 to 12 motif of Pangandaran batik. hours. Thresnawaty (2016) added that the Being a reflection of the sea-based life ronggeng sang six up to eight songs in each of the Pangandaran people, Pangandaran performance, thus, good health and stamina batik motifs are inspired by the wealth of the was of importance. local marine life. The hurang windu (giant tiger prawn) and sea horse motifs are some Local Wisdom in the Pangandaran Batik of Sea-based Life Motifs of the motifs originating from Pangandaran. In a recent Pangandaran batik design The local wisdom of the Pangandaran competition, the hurang windu motif won batik lies not only in the close connection the first place. The second and third places between the batik motifs and the way the were given to the Samudra (Ocean) motif majority of Pangandaran people make their and the Sea Product motif respectively. living as fisherpeople and farmers. This This, once again, affirms the fact that the close connection has become an identity Pangandaran batik style is always associated that distinguishes the Pangandaran batik with the wealth of the region’s natural from other styles of batik. The Pangandaran resources and biodiversity. batik style features a nuance of locality The Pangandaran batik attire is also worn that emerges from the cultural identity during the “Mojang and Jajaka Pangandaran” of the Pangandaran people. Another (Pangandaran Youth Pageant). Participants popular Pangandaran batik motif is honjam are required to wear Pangandaran batik [abbreviation of honje (Etlingera elatior clothes since the preliminary until the plant) and jambal (salted manyung or ariidae final stage of the contest. The batik cloths fish)]. While honje depicts the agrarian or from which the contestants’ clothes are farming way of living, jambal symbolizes made are produced by Kodja batik makers. the local fishing activity and economy. Different Pangandaran batik motifs have Rusdaya (personal communication, January also taken part in different national-level 27, 2018) explained: batik competitions and batik promotion Honjam is a popular Pangandaran events, including GBN (Gebyar Batik batik motif. It is an acronym of Nusantara or Nusantara Batik Festival) honje tree (kecumrang) and jambal and Inaka (Indonesian National Craft Trade fish. This motif was designed as Fair). an appreciation form to natural Figure 1, Figure 2, and Figure 3 show resources of Pangandaran. Honje some of the Pangandaran batik clothes worn tree is very beneficial in improving by Mojang Jajaka Pangandaran contestants. body vitality. Jambal fish is a

1532 Pertanika J. Soc. Sci. & Hum. 28 (2): 1525 - 1538 (2020) Pangandaran Batik

Figure 1. Pangandaran batik attire worn in Mojang Jajaka Pangandaran Youth Pageant (Source: Rusdaya’s (personal communication, January 27, 2018) document)

Figure 2. Mojang Jajaka Pangandaran contestants Figure 3. Mojang Jajaka Pangandaran contestants (Source: Rusdaya’s document) (Source: Rusdaya’s document)

Pangandaran Batik as a Distinctive dyes for Pangandaran batik are made of the Batik Style in East Priangan following plants: One of the most distinctive characteristics mangrove : black dye of the Pangandaran batik that makes it mahogany : brown dye different from the other East Priangan batik jiringa : purple dye styles, namely the Garut, Tasik, and Ciamis mangosteen : green dye styles, is the use of natural dyes. Natural jackfruit : yellow dye coconut : red dye

Pertanika J. Soc. Sci. & Hum. 28 (2): 1525 - 1538 (2020) 1533 Agus Nero Sofyan, Ekaning Krisnawati and Tajudin Nur

Natural dyes are used to prevent allergy motifs have nothing to do with the buyer’s resulting from a chemical reaction that may or wearer’s social status. happen when batik clothing are exposed Every batik style existing in East to the heat of the Pangandaran weather. Priangan has its own aesthetic characteristics Tourists, especially foreign tourists, do and values. Each style has certain similarities not want this to happen to them. Rusdaya with and differences from one another elucidated, “Natural dyes for Pangandaran in terms of philosophy, motif, and color. batik are used considering that natural The Pangandaran batik is known for its resources or trees in Pangandaran have close relation to and depiction of the multifunctions. The use of natural dyes social, economic and natural condition of distinguishes Pangandaran batik from other Pangandaran as described by Rusdaya, batiks. Natural dyes makes batik cloth comfortable to wear.” The names of Pangandaran batik Another difference between the motifs are derived from nature to Pangandaran batik and other East Priangan appreciate, popularize and preserve batik styles lies in the motifs and color the richness of Pangandaran natural composition. The Ciamis batik, also resources so younger generation known as Ciamisan, is characterized by will know them. In addition, the simplicity of its motifs. The simple Pangandaran batik motifs should motifs of Ciamisan batik are inspired by the depict local wisdom so the identity surrounding nature or the motifs produced of Pangandaran can be recognized. in other regions. The colors frequently Hurang Adu Manis as seen in Figure used in Ciamisan batik are black, white, 4 is among the most well-known motifs of and yellowish-brown. Ciamisan decorative the Pangandaran batik. The entire fabric is motifs have natural nuances, depicting dominated by blue color and its lighter and the flora, fauna, and other elements of the darker gradations. The design consists of surrounding nature. Ciamisan batik motifs stylized prawns and waves that are arranged do not symbolize any philosophical meaning diagonally. The motif depicts prawns and or social status. the rolling sea waves, symbolizing a calm The motifs of Tasikmalaya batik style sea atmosphere. This motif is suitable to are inspired by nature (plants, animals, be worn as private or state organization and (social) events) and Tasikmalaya’s employees. Overall, the motif symbolizes cultural wealth. The hand-painted motifs of Tasikmalaya batik motifs depict the harmony and dynamism. flora, fauna, objects, or other elements Another Pangandaran batik motif is of the surrounding nature. Some motifs, called Hurang Sagara (Ocean Prawn) however, are based on those of Solo, as pictured in Figure 5. As the name Yogyakarta, Tegal, and Pekalongan batik suggests, the motif combines stylized styles. Tasikmalaya hand-painted batik images of prawn and the ocean. The basic

1534 Pertanika J. Soc. Sci. & Hum. 28 (2): 1525 - 1538 (2020) Pangandaran Batik

Figure 4. Hurang Adu Manis motif Figure 5. Hurang Sagara motif Figure 6. Ombak Laut (Source: Rusdaya’s document) (Source: Rusdaya’s document) Pangandaran motif (Source: Rusdaya’s document) background is black, while the prawn and leads but also who has the courage to defend ocean patterns are colored with an orange truth and the rights of others. The leader of dye. The philosophy behind the motif is a region must prioritize people’s welfare the energy and spirit of life. The motif and protect its rich natural resources. A symbolizes that in life one has to learn from good leader is also a reliable person who prawns. Prawns are independent, hard- believes in God as the center of life and who working sea animals that are always ready is loved by his/her people. This motif, which to face any storm in any sea. They are not suggests a power to protect, is suitable afraid of being trapped among coral reefs or for public officials, civil servants, village tossed by hostile rolling waves in the vast officials, and community leaders. ocean. Like prawns, one has to learn to live A motif called Hasil Laut Pangandaran together with others, no matter how hard and (Pangandaran sea products) as seen in difficult life can be. The prawn and ocean Figure 7 is also common. It consists of a motif symbolizes strength and togetherness series of dots, each surrounded by a floral and the spirit and strength to face life on a pattern. As the name suggests, the motif righteous path. This motif is usually worn by depicts the products of the rich Pangandaran the head of sub-districts and regency offices. Sea as a source of life and prosperity of the The next motif, Ombak Laut Pangandaran people. Philosophically, the Pangandaran (Pangandaran Sea Waves) motif symbolizes a strong and honest leader as seen in Figure 6, depicts the waves of who mingles with the people he/she leads the Pangandaran Sea. The motif is also and is committed to promoting their welfar. decorated with stylized images of a wave- Batik clothes with this motif are suitable for tossed small boat and a school of small fish employees. in the water beneath the boat. Set against a Ragam Hias Kuda Laut (Sea Horse background of gradations from light to dark Decorative Motif) as seen in Figure 8 is blue, the patterns slant in a slightly diagonal another popular motif. It represents sea direction. The motif has a philosophy of horses. The word ragam (variation) refers to leadership, that is, that a good leader is a the different species of sea horse. The pattern leader who not only protects those he/she consists of two sea horses surrounded by

Pertanika J. Soc. Sci. & Hum. 28 (2): 1525 - 1538 (2020) 1535 Agus Nero Sofyan, Ekaning Krisnawati and Tajudin Nur

Figure 7. Motif of Hasil Laut Figure 8. Motif of Ragam Hias Figure 9. Lereng Hurang Pejantan Pangandaran (Pangandaran Sea Kuda Laut (Sea Horse Decorative motif (Source: Rusdaya’s Products) (Source: Rusdaya’s motif) (Source: Rusdaya’s document) document) document) decorative patterns. The motif symbolizes CONCLUSION an honest, good-hearted worker or employee The birth of the Pangandaran batik cannot be who remains loyal and steadfast to the separated from the history and establishment codes of his/her profession during his/her of Pangandaran as a new regency in West entire career. The motif suggests a sense Java. Pangandaran Regency is the result of charisma and is, therefore, suitable to be of the proliferation of Ciamis Regency in worn by family members or married couples West Java. The Pangandaran is substantially who have strong bond and commitment to different from other East Priangan batik their family or spouse. styles in several ways. The Pangandaran The last motif featured in this article is batik style gives more emphasis on the Lereng Hurang Pejantan as seen in Figure locality of the region as a regency with 9. Again, as the name suggests, the motif is abundant natural resources, particularly dominated with stylized images of prawns. aquatic and marine resources. The word ‘pejantan’ itself means ‘male’, The local wisdom behind the hence ‘male prawns’. The motif is more Pangandaran batik style lies among others suitable for men. The color reflects a good in the maintenance and preservation of the quality of leadership. Prawns are among the iconic cultural and art potentials existing in wealth provided by the Pangandaran Sea. Pangandaran, namely badud and ronggeng There are many aquaculture farmers who gunung art forms. It is also reflected in prosper from prawn farming. The prosperity the way the majority of Pangandaran offered by prawn farming inspired the people make their living as farmers and creation of the motif. It is believed that a fisherpeople. The close connection between man wears a lereng hurang pejantan batik Pangandaran people and the activities of shirt will look so charismatic that other going to the sea and fishing is reflected people would love, respect, and look up in the different motifs of the Pangandaran to him as a hard-working role model who batik style. Pangandaran batik motifs feature can teach them about goodness. The motif stylized images of marine organisms found is suitable for public officials and school in the Pangandaran sea, including hurang principals. windu (tiger prawns) and sea horses. Another

1536 Pertanika J. Soc. Sci. & Hum. 28 (2): 1525 - 1538 (2020) Pangandaran Batik distinctive characteristic of the Pangandaran Krisnawati, E., Sunarni, N., Indrayani, L. M., batik style which distinguishes it from the Sofyan, A. G., & Nur, T. (2019). Identity other Batik styles in East Priangan (Garut, exhibition in batik motifs of Ebeg and Pataruman. SAGE Open, 9(2). https://doi. Tasik, and Ciamis styles) is the use of org/10.1177%2F2158244019846686 natural dyes. Kudiya, K. (2014). South coastal batik of West Java. Yogyakarta, Indonesia: Yayasan Batik Jawa ACKNOWLEDGEMENTS Barat. The authors wish to express their gratitude Rosidi, A., Ekadjati, E. S., Djiwapradja, D., to the source people, Mr. Rusdaya for his Suherman, E., Ayatrohaedi, Abdurrachman, invaluable elucidation on the history of … Sasteradipoera, K. (2000). Encyclopedia Pangandaran Batik as well as to Mr. Adang of Sundanese, nature, humans and culture for his insight and explanation on Badud and including Cirebon and Betawi cultures. Jakarta, Ronggeng Gunung. The research was fully Indonesia: Pustaka Jaya. funded by Universitas Padjadjaran under Soemantri, H., Supangkat, J., & Couteau, J. (2002). the research grant scheme of Academic Indonesian heritage: Fine arts. Jakarta, Leadership Grant number 1644/UN6.H/ Indonesia: Buku Antar Bangsa and Grolier International. LT/2018. Sunarya, Y. Y. (2010). Priangan Batik: An REFERENCES introduction. Paper presented at West Java Seminar on Batik. Cultural Arena, Small and Arimi, S. (1998). Phatic in Indonesian society Middle-scale Enterprise Service, July 3, 2010. (Unpublished Master’s thesis), Universitas Bandung. Retrieved July 11, 2019, from https:// Gadjah Mada, Yogyakarta, Indonesia. www.researchgate.net/publication/305881968_ Cassirer, E. (1944). An essay on man: An introduction Batik_Priangan_Sebuah_Pengantar to a philosophy of human culture. Yale, USA: Sunarya, Y. Y., Anas, B., & Syarief, A. (2011). The Yale University Press. design mapping of modern Priangan (West Casta, & Taruna. (2008). Batik of Cirebon. Cirebon, Java) batik in the context of Creative Industry Indonesia: The Body of Cultural Communication in Bandung. Paper presented at International and Tourism of Cirebon Regency. Conference on Sundanese Culture II, Bandung, Indonesia. Retrieved July 11, 2019, from https:// Djelantik, A. A. M. (1999). Esthetics: An www.researchgate.net/profile/Yan_Sunarya/ introduction. Bandung, Indonesia: MSPI. publication/305812118_Pemetaan_Desain_ Dyna, B. 2010. Pengertian batik dan sejarah batik Batik_Priangan_Modern_Jawa_Barat_Dalam_ Indonesia [Definition and history of Indonesian Konteks_Industri_Kreatif_di_Bandung/ batik]. Retrieved July 25, 2018, from http:// links/57a3085108ae5f8b258dab73/Pemetaan- nesaci.com/pengertian-batik-dan-sejarah-batik- Desain-Batik-Priangan-Modern-Jawa-Barat- indonesia/ Dalam-Konteks-Industri-Kreatif-di-Bandung. pdf Idrus, M. (2009). Methods of social sciences. Yogyakarta, Indonesia: Erlangga. Sunarya, Y. Y. (2013). Batik in the context of recent design and creativity. Retrieved July 11, 2019,

Pertanika J. Soc. Sci. & Hum. 28 (2): 1525 - 1538 (2020) 1537 Agus Nero Sofyan, Ekaning Krisnawati and Tajudin Nur

from https://www.researchgate.net/profile/ Suryani, N. S. E., & Marzuki, A. (2005). Dictionary Yan_Sunarya/publication/305881821_Batik_ of ancient Sundanese. Sumedang, Indonesia: dalam_Konteks_Desain_dan_Kreatifitas_Kini/ Alqaprint Jatinangor. links/57a45bfa08aee07544b26cda/Batik- Thresnawaty, E. (2016). Raspi maestro of ronggeng dalam-Konteks-Desain-dan-Kreatifitas-Kini. gunung. Patanjala, 8(2), 235-250. pdf Tresnadi, C., & Sachari, A. (2015). Identification Suryalaga, H. (2010). Sundanese philosophy: A of values of ornaments in Indonesian batik in glimpse of interpretation Bandung, Indonesia: visual content of Nitiki game. Journal of Arts Yayasan Nur Hidayah. and Humanities, 4(8), 2-39.

1538 Pertanika J. Soc. Sci. & Hum. 28 (2): 1525 - 1538 (2020)