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Malaysian Batik Sarongs: A Study of Tradition and Change A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Rafeah Legino M.A. Art and Design (Research) (UiTM, Malaysia) School of Art RMIT University August 2012 Volume I i Declaration I certify that except where due acknowledgement has been made, the work is that of the author alone; the work has not been submitted previously, in whole or in part, to qualify for any other academic award; the content of the thesis is the result of work which has been carried out since the official commencement date of the approved research program; any editorial work, paid or unpaid, carried out by a third party is acknowledged; and, ethics procedures and guidelines have been followed. Rafeah Legino ii Acknowledgements I wish to express my sincere gratitude to both my senior supervisors, Professor David Forrest, Dr. Sophia Errey (former supervisor) and to my second supervisor Dr. Robin Kingston for their patient guidance and encouragement throughout this study. RMIT very generously gave me a grant to attend the Art and Society Conference, Berlin, 2011 to present a paper and to attend lectures relevant to my field of enquiry. I feel grateful for the assistance given by the staff of museums, galleries, archives, and libraries in Malaysia, Singapore, Jakarta and Melbourne for giving me permission to view and study samples from their textile collections. I am also very obliged and thankful to the several individuals and batik artisans as they gave me access to their batik collections for this study. Thanks to my family for their understanding. Their support has always been a blessing for my success and health during my research. Finally I am very grateful for the scholarship from Ministry of Higher Education (MOHE) and University Technology MARA (UiTM), Malaysia, which has made this research possible. iii Volume 1 Table of contents Declaration ii Acknowledgements iii List of tables vii List of figures viii List of appendices vi Acronyms xiii Glossary xiv Abstract xvii Chapter 1: Introduction to the research 1.1 Introduction 1 1.2 Background to the research 3 1.3 Aims 13 1.4 Objectives 13 1.5 Research questions 13 1.6 Rationale 13 1.7 Preliminary definitions 17 1.8 Thesis outline 17 Chapter 2: Approach and research process 2.1 Introduction 20 2.2 Review of the related literature 20 2.3 Archives and images 27 2.4 Artefacts sourcing, analysis and photography 27 2.5 Motif tracing 40 2.6 Design analysis and cataloguing 43 2.7 Summary 47 iv Chapter 3: Cultural context: Malaysia 3.1 Introduction 48 3.2 Geography 48 3.3 Trade and early contacts 50 3.4 History 52 3.5 The culture of Malaysia 53 3.6 An overview of arts and cultural management 57 3.7 The National Cultural Policy of Malaysia 62 3.8 The management of batik in Malaysia 66 3.9 Summary 71 Chapter 4: History and development 4.1 Introduction 72 4.2 The term batik 72 4.3 The origin and history of batik: from Java to Malaysia 73 4.4 Traditional batik techniques development 84 4.5 The definition of ‘sarong’ and its development 99 4.6 The making of batik sarong 108 4.7 Batik sarongs as part of clothing culture 122 4.8 Summary 132 Chapter 5: Batik sarong design 5.1 Introduction 133 5.2 The idea of the aesthetic in batik sarong design 133 5.3 Motifs 139 5.3.1 Plant motifs 143 5.3.2 Fauna motifs 151 5.3.3 Geometric, cosmic, and cuisine motifs 154 5.4 Sarong layout design 160 5.5 Traditional Malay batik sarong composition 166 5.5.1 The kepala kain (head or the central panel) 175 5.5.2 The badan kain (the body or the larger left and right panels) 178 5.5.3 The apit kain (the framing border) and the tepi kain (the upper and lower edges) 182 5.6 Influences and innovation in motif design 184 v 5.7 Summary 185 Chapter 6: Conclusion 6.1 Conclusions 188 6.2 Recommendations for further research 195 References 199 Appendices Appendix I: List of location (museums, galleries and archives) 207 Appendix II: Letter of permission for research 209 Appendix III: Document stating that every Thursday is batik day for civil servants 210 Appendix IV: List of batik sarong makers in Kelantan and Terengganu 214 Volume II List of fabrics Catalogue no. 1. Kain batik pelangi/teritik 1 2. Kain batik sarong, wood block printed 3 3. Kain batik sarong, hand painted 9 4. Kain batik sarong, wood block printed 11 5. Kain batik sarong, metal block printed 12 6. Kain batik sarong, screen-printed 71 7. Kain batik sarong, hand drawn 84 8. Kain batik sarong, screen-printed 85 9. Kain batik sarong, hand drawn 90 10. Kain batik sarong, screen-printed 91 11. Kain batik sarong, hand drawn 95 12. Kain batik sarong, screen-printed 97 vi List of tables Table 2.1: Review of the other textile analyses, which directed the research analysis model for the Malaysian batik sarong. Table 2.2: The design analysis for the samples of batik sarong. Table 3.1: Proposed budgets for arts and culture in Abu Dhabi, Seoul, Beijing and Singapore. Source: (http://www.epu.gov.my/cir_archives accessed February 12, 2011). Table 3.2: Culture, arts and heritage development. Expenditure and allocation for 2001- 2010 (RM million). Source: (Ninth Malaysia Plan 2006-2010, 2006, p. 472). Table 5.1: The various types of climbing and flowering plant motifs used in batik. Table 5.2: Plant, leaf, shoot and tendril motifs. Table 5.3: Spice motifs in batik sarongs. Table 5.4: Several fruit motifs found in batik sarongs. Table 5.5: Fauna motifs. Table 5.6: The geometric motifs in batik sarongs. Table 5.7: The Malay dessert and food motifs used in batik sarongs. Table 5.8: The cosmic motifs taken from the batik sarong samples. Table 5.9: Measurement showing the typical length and width of Javanese sarongs. Table 5.10: Measurements showing the length and width of Malaysian and Javanese batik sarongs, based on the samples of batik sarongs that were collected for this study. Table 5.11: Translation table of the batik sarong’s layout sections. vii List of figures Figure 1.1: The comfortable batik sarong worn as everyday clothing. The researcher (left) in 1983 with her aunt. Photo by Rafeah Legino, 2008. Figure 1.2: The researcher and her husband’s grandmother wearing batik sarongs while at home. Photo by Rafeah Legino, 2008. Figure 1.3: Composition I, Collagraph, 1998. Photo and artwork by Rafeah Legino, 2008. Figure 1.4: Bamboo shoot I, Photo silkscreen on paper, 1999. Photo and artwork by Rafeah Legino, 2008. Figure 1.5: Bamboo shoot II, Photo silkscreen on paper, 1999. Photo and artwork by Rafeah Legino, 2008. Figure 1.6: Left, top and bottom: Continuity series I, Photo silkscreen on paper, 2000. Photos and artwork by Rafeah Legino, 2008. Figure 1.7: Top: Continuity series I, and bottom Continuity series II Computer printed on paper, 2003. Photos and artwork by Rafeah Legino, 2008. Figure 1.8: Primary school students in Indonesia drawing patterns on cloth with canting. Photo purchased from UNESCO Photo Bank: 30209183, 2009. Figure 2.1: The National Museums of Kuala Lumpur. Photo by Rafeah Legino, 2008. Figure 2.2: The State Museum in Terengganu. Photo by Rafeah Legino, 2008. Figure 2.3: The State Museum in Kelantan. Photos by Rafeah Legino, 2008. Figure 2.4: The surviving gate of the A-Famosa Portuguese fort in Malacca. Photos by Rafeah Legino, 2008. Figure 2.5: The Malay and Islamic World Museum. Photos by Rafeah Legino, 2008. Figure 2.6: The Baba Nyonya Heritage Museum, Malacca. Photos by Rafeah Legino, 2008. Figure 2.7: The Malay shops in Malacca, which sell a variety of Baba and Nyonya products. Photos by Rafeah Legino, 2008. Figure 2.8: The Peranakan Museum, Singapore. Photos by Rafeah Legino, 2008. Figure 2.9: The National Museum and Textile Museum, Jakarta. Photos by Rafeah Legino, 2008. Figure 2.10: The Adobe Illustrator© Program. Photo by Rafeah Legino, 2008. Figure 2.11: The textile picture in JPEG format. Photo by Rafeah Legino, 2008. Figure 2.12: The tracing process. Photos by Rafeah Legino, 2008. viii Figure 2.13: The use of ellipse tool. Photos by Rafeah Legino, 2008. Figure 2.14: Line drawing from the tracing process. Photo by Rafeah Legino, 2008. Figure 2.15: The layout of a batik sarong that shows its segments. Photo and drawing by Rafeah Legino, 2008. Figure 3.1: Map of Malaysia Rafeah Legino. Adapted from The University of Texas at Austin, Pery-Castañeda Library Map Collection. Country Maps Malaysia. http://www.lib.utexas.edu/maps/malaysia.html. 12/02/2012. Figure 3.2: Map redrawn by Rafeah Legino, 2012, showing the location of Malacca and its trade routes. Adapted from Batik Fabled Cloth Java, (p. 23), by Inger M-Cabe Elliott, 1984, New York: Clarkson N. Potter. Figure 3.3: The many faces of Malaysia represent a multicultural society with diversity in ethnic dress. Retrieved April 11, 2009 from Flickr: http://www.flickr.com/photos/anything-everything/370869690/. (Image removed due to copyright restrictions). Figure 3.4: Baba and Nyonya communities in Malaysia. Photo purchased from National Museum Kuala Lumpur, 2008. Figure 3.5: The Prime Minister Datuk Seri Najib Tun Razak views models wearing batik shirts designed for the 1Malaysia programme. Retrieved February 04, 2010 from http://www.utusan.com.my.
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