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SOCIAL SCIENCES & HUMANITIES Pangandaran Batik As a Distinctive 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 Java Agus Nero Sofyan, Ekaning Krisnawati* and Tajudin Nur Department of Linguistics, Faculty of Cultural Sciences, Universitas Padjadjaran, 45363 Sumedang, Indonesia ABSTRACT The paper discusses Pangandaran batik as a distinctive batik style from East Priangan Region, West Java 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 Ciamis Regency, 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.
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