Pegah Jahangiri A BRIEF REVIEW OF MALAYSIAN BATIK DEVELOPMENTS FROM 1950S TO 1980S

Pegah Jahangiri Sabzali Musa Kahn Syed AlwiSyed Abubakar Mina Hedayat

University of Malaya Jalan Universiti, 50603 Kuala Lumpur Wilayah Persekutuan Kuala Lumpur, Malaysia e-mail: [email protected]

ABSTRAK

Batik Malaysia adalah proses pemberian dekorasi dan pewarnaan kain dengan menggunakan teknik lilin sebagai perintang. Industri batik di Malaysia berumur kurang dari satu abad tetapi memiliki peran sebagai identitas nasional dan terus berkembang. Artikel ini bertujuan untuk melakukan ulasan singkat tentang perkembangan batik Malaysia dari tahun 1950 hingga 1980-an. Tahun 1970-an adalah titik balik dalam produksi batik dan sebuah awal baru dalam semua hal. Dengan mengadopsi stylus atau canting, batik dianggap memiliki nilai seni tinggi daripada sekedar kriya di Malaysia dan terkenal dengan torehan lilin dari canting dengan isen garis-garis dan titik-titik yang terampil namun rumit di atas bentuk sarung. Kain batik tidak lagi hanya dibuat menjadi sarung di Malaysia. Terlepas dari kenyataan bahwa batik tulis populer untuk pakaian dalam dua dekade terakhir pada abad kedua puluh ini, secara keseluruhan ada penurunan keunikan dan inovasi dalam industri batik. Tampaknya ada tidak banyak minat dalam pengembangan produk baru, teknik atau strategi pemasaran baru. Desain batik juga diciptakan tanpa mengamati tren pasar. Batik Malaysia terlokalisir dan tidak terekspos pada pasar global.

Kata Kunci: Batik Malaysia, Perkembangan, Gambar Tangan, Teknik Wax Resist

ABSTRACT

Malaysian batik as a process of decorating and dyeing fabric by using wax-resist technique is no exception. The batik industry in Malaysia is less than century old but it has a role in national identity and it keeps improving. This article aims to do a brief review on the developments of Malaysian batik from 1950s to 1980s. The 1970s were a turning point in batik production and a fresh start in all ranges. With the enthusiastic adoption of the stylus or canting, batik has become more art and less a craft in Malaysia and it is famous for its masterful but laborious canting-drawn wax lines and dots on the sarong format. Lengths of batik are no longer simply made into sarongs in Malaysia. Despite the fact that hand drawn batik was popular for tailored clothing in last two decades of twentieth century but there was an overall decrease of uniqueness and innovation in the batik industry. There seemed to be not much interest in new product development, new techniques or marketing strategies. Batik designs were also being created without looking up the market trends. Malaysian Batik was localized and it was not exposed to the global markets.

Keywords: Malaysian Batik, Developments, Hand Drawn, Wax Resist Technique.

271 A Brief Review of Malaysian Batik ... INTRODUCTION Textiles are one of the most exciting and meanwhile it is rooted in ancient traditions solid art forms Throughout Asia. Southeast established distance away from West Africa to Asian textiles are prominent works of art, East Turkestan and as nearby as the island of formed by a rich diversity of techniques such as Java in Indonesia. Centuries of maritime trade weaving, dyeing and embroidery with a variety along the East-West ‘water silk route’ and the of materials (Maxwell, 1990). Textiles which are two sided exchange of ideas and products from the handicraft category are invented by from within and outside of Southeast Asia humans to richen our lives. Based on historical researches textiles have been developed along composition of the surface-decorated textiles have influenced the techniques, motifs and the other aspects of human culture. Textiles are and cloths of this region (Yunus, 2011). inseparable part of Malay culture and which According to Shireen Naziree (2004), the indicates the sophistication of Malay people origin of batik, like many traditional folk arts, is (Siti Zainon Ismail, 1997). Fiona Kerlogue not known. A similar dye-resistance technique (2004 ), mentions that batik is particularly was practiced in Asia and Africa. Batik in composition, design, colors and the philosophy significant in the world of textiles because of its Archipelago. This idea of decorating fabric behind it. The way it is produced and its withits refined designs form using is associated a resistance with material Malay like functions express the spirit of a nation. wax, resin or rice paste is very old and remains Sarong and batik are two Malay words of fabric found in archaeological excavations which entered the English Language and it is apprehensible by most non-Malay globally. This Middle East. Malaysia batik has been mainly from fifth and sixth centuries A.D. in Egypt and colorful fabric is the national textile of Malaysia. rooted in traditional sarongs. The designs and Kelantan and Terengganu are the two east coast state of Malaysia that are the pioneers of with Kelantan and Terengganu, East Coast production of sarongs has been firstly identified batik industry and the most famous states for States of Malaysia. Documentation of batik batik production. The Standard and Industrial production in Kelantan date back to the 1920’s Research Institute of Malaysia (SIRIM) stated when the overtones were largely Javanese. that batik is a handcrafted process using a wax Noor Azlina Yunus (2011), remarks that resistant technique. The motifs are designed the earliest history of the Malay Peninsula, on the fabric using hot wax and it is followed indeed the whole of the area that eventually by color application. The wax application and came to be known as Southeast Asia, was subsequent dyeing or hand painting are often shaped to a large extent by the crosscurrents of carried out repeatedly (Malaysian Handicraft maritime trade. Siti Zainon Ismail (1997), noted Development Corporation, 2007). that cultural diffusion has also introduced completely different kinds of cloth and textiles RESULTS AND DISCUSSION from India, China, Persian and Arab regions. These innovations spread through coastal A. A Touch of Batik History areas. Sara Arney (1987), believes that the Art and craft can reveal little of the origin of batik remains a mystery. While some history and identity of a nation. The craft and, scholars claim the technique began in India, more recently, artistic perspective of Malaysian others believe it may have originated on the batik which is a process of decorating and royal courts of Persia. Yunus (2011), also agrees dyeing fabric with a wax-resist method is no thatit is not exactly known when and where exception. Local batik designers and producers artworks are very genuine and adventurous, other vegetable paste, even mud, to cloth that people first applied beeswax, paraffin, rice and 272 Pegah Jahangiri would then resist a dye. The roots of batik are to small-scale rural industries. A number of studies were carried out on weaving and other with many countries claiming to be the original cottage industries on the east coast but batik cradleancient, of difficult the art. to trace and much debated, was overlooked by these studies; however by the early 1960s producers had organized The history of batik industry in Malaysia batik associations to facilitate communication is formed by the immigration of a group of with RIDA. Independence changed the lives of Javanese people settled on the Malay Peninsula artists and artisans. The National Art Gallery who start small home production centers in ( ) encouraged batik the early years of the twentieth century. They Balai Seni Lukis Negara as a medium for expressing the Malaysian reside on the East Coast neighboring Kota experience. National competitions were held to Bharu and Kuala Terengganu (Leigh, 2002). develop the technique (Arney, 1987). Batik was largely associated with B. Batik Developments practical applications and it was being in 1950s and 1960s fashioned into the latest fashion trends of the Wan Hashim (1996), stated that the period (Naziree, 2004). Local craftsmen and batik production had a sudden stop during Second World War as the Japanese prohibited different dyeing techniques and a diversity of importing raw materials like white cloth, colors.artists alsoBatik beautified became the imported major textile cloth by worn using in dye and wax. After Japanese surrender, batik the courts of Java and Jambi. Batik was worn production restarted but rather slowly as this as a part of everyday clothing in Kelantan and infant industry had to compete with textiles Terengganu. from Britain, India and Japan. The Majlis Amanah Rakyat (MARA) was According to Arney (1987), in 1951 local established in the early 1960s in order to batik was recognized in a “Definitive Exhibition continue and expand RIDA’s efforts to provide of Malay Arts and Crafts”, sponsored by the assistance to the rural population, primarily Singapore Art Society (also in Kuala Lumpur Malays. The MARA Handicraft Development in 1952). The Exhibition catalogue description Center (Pusat Kemajuan Pertukangan Tangan and a single photograph illustrate the MARA) was establishe in Petaling Jaya to Pekalongan style of batik created by Malays at encourage the search for new techniques and that time. According the catalogue, in the 1950s patterns. In 1965 a United Nations consultant, locally made batik were primarily consumed Don Jourdan, provided technical advice based by the local population although some were on his experience with Java’s batik industry to exported to Siam (Thailand), Burma, Sarawak improve production techniques and encourage and Brunei. As Siti Zainon Ismail (1997), the production of batik yardage. In 1968 a mentions by the 1950s when the industry Peace Corps volunteer contributed in the area evolved to bear its own distinct Malaysian of design. In the same year of enterprising identity, batik was commonly embraced by the MARA, Bumiputra Batik Marketing Malaysians of all cultural background. Corporation was established to assist the Batik industries were increasing during east coast batik producers in marketing their 1950. The Singapore catalogue states that products. Malaysia Batek and Handicraft there were sixty factories operating around Berhad (MBHB) was also to serve the east coast Kota Bharu at that time, with a few starting producers(Arney, 1987). in Kuala Terengganu. In the mid-1950s the Barbara Leigh (2002), stated that Rural and Industrial Development Authority batik in Malaysia is produced by some of (RIDA) was established to provide assistance the small and medium enterprises which

273 A Brief Review of Malaysian Batik ... had close connection with government. The and funding of these bodies was assisted Handicraft Development Centre was founded in order to promote Malaysian handicraft in 1967. Establishing Batik Malaysia Sdn. Bhd. commencingby the Malaysian in 1971. government’s As Arney affirmative(1987), stated was a main promoter in 1968. There were inaction 1972, policies representatives to specifically from assist the East Malays, Coast collaborations between Batik Malaysia Sdn. Malay Batik Producers Association (Persatuan Bhd and MARA (Majlis Amanah Rakyat Act - Pembatek-Pembatek Melayu Pantai Timur) Council of Trust for Indigenous People Act); and individual batik makers from Kelantan ITM (Institute Teknologi MARA) have been set and Terengganu made petitions to the federal up around the country to carry out training government protesting the imposition of sales schemes. tax and identifying other problems in the batik industry. In July 1972 Khir Johari, the Minister By the 1960s, batik makers have taken of Trade and Industry visited Kelantan and a leap forward by diversifying from ‘sarong’ Terengganu discussing the problems of the production to producing batik cloth in yardage. industry. As a result of the meeting, the Minister This new product proved to be readily directed that a Task Force be established to accepted by the local consumers since the new examine the short and long term problems of batik cloth could be made more readily in to the batik industry in Malaysia. fashionable clothing for everyday use. Batik makers introduced batik made on fabrics other The Malaysian Handicraft Board became than cotton such as Swiss voile and rayon. the Malaysian Handicraft Development By the 1970s, introducing higher quality of Corporation (MHDC), in 1979. Since then, it cotton and silk made batik acceptable clothing isgenerallynoted as Kraftangan, which its aim is at indigenous enterprises called bumi putera 2003). in in different places in Malaysia. MHDC’s plan for official functions (Fuziah Raja Uda & Ong, is focused on the manufacture, promotion, and Yunus (2011), explains that the marketing of crafts. Their goal is to spread craft organizations and institutions that had been production all over the country. For producing created by the new federal government in batik, a number of places on the East Coast of the 1960s to serve people in development, Malaysia have been selected (Leigh, 2002). including small scale batik producers in east coast states of Kelantan and Terengganu, In the line with the government’s New were reaping returns from their efforts. More Economic Policy to upgrade the rural economy, cottage industry was given priority within the framework of the National Development consistencyefficient infrastructure of colors and and overall better quality facilities of Plan and Programs in the 1970s. Great efforts batikwere reflectedproduced. in the improvement in the were made to revitalize cottage industry involving policy changes, introduction of new strategies and improvement of the facilities and C. Developments of Batik amenities particularly for the batik industry. form 1970s to 1980s Thus a period that encouraged innovation, According to Wan Hashim (1996), The new techniques, designs and incentives was rapid expansion of batik production took introduced and extended to batik makers. This place in the 1970s when batik came to be period saw the emergence of new creative recognized as national dress for the Malaysian talents spear-headed by entrepreneurs who multi-racial society. In 1973, The Malaysian had vision of the potential growth of the batik Handicraft Board (Lembaga Kraf tangan Malaysia) was founded. The establishment industry (Fuziah Raja Uda & Ong, 2003). 274 Pegah Jahangiri D. New Batik Sheppard (2011), stated that Malay women of 1970s prefer batik sarongs to any Since the 1970s,batik making in Malaysia other kind for everyday use. Batik has become has become less a craft and more an art popular because a Malay batik industry has with the keen acceptance of the canting. The come into existence and inexpensive sarongs of good quality are available all over the country. a much larger meaning than the Javanese In 1970 there were more than 3500 workers one,definition which of is batik renowned in Malaysia for its hasmasterful also obtained in Kelantan and Terengganu employed in batik but laborious canting-drawn wax lines and industry. The process of batik in Malaysia was dots on the sarong format. Lengths of batik not quit the same as the process followed in are no longer simply made into sarongs in Java. The design and color used are different. Malaysia. More often batik creations show In particular, the colors in Java are mostly the artistic characteristics such as originality ochre, dark blue and deep brown in contrast of composition and design, impressive use of to the light green, light blue, yellow and light color, a high level of technical expertise and, red in Kelantan. Foliated patterns of Java especially, a talent for working in the medium are abandoned and Kelantan designers have of batik. Similarly, the old system of anonymous artisans is giving way before a new style often with a striped background. In Terengganu and organization of the batik industry that thereplaced designers them use with nearer large patternflowers andand colorsleaves encourages individual talent and promotes to the Javanese style but the compositions are recognized batik designers and artists (Yunus, original. 2011). According to Arney (1987), questions The international interest in posed at the Culture Congress was an multiculturalism, ethnic arts and handcrafts inspiration for artists from all generations to coincided with the search for economic pay attention to their regional heritage as a development and a national identity in the early source for creative inspirations. A number of years of Malaysia’s independence. Malaysian young people, some returning from studies batik producers had a new market and at overseas others having studied at ITM, the same time, young Malaysians were being turned to batik as a livelihood. Ramli Malek, trained by MARA Handicraft Centers on the east who studied overseas, recreated European coast and by the MARA Institute of Technology paintings using batik as a medium and also produced yardage with innovative designs. with diplomas in art and design in 1970. In TunkuZubeidah, with a degree in art from Great that(ITM). same The year first the intake National of students Culture graduated Congress Britain and a short apprenticeship at the MARA addressed the issue of Malaysian culture. Ramli Handicraft Research Center, started production Malek, artist and teacher at ITM, presented a in her backyard. paper discussing the state of the batik industry at that time. The concluding message from Yunus (2011), believes without a the Congress was that Malaysians should look doubt, pushing the boundaries of Malaysian toward their cultural heritage in their artistic batik in the early 1970s was mostly done by TunkuZubeidah Abu Bakar an entrepreneur turning point in Malaysian arts; whether it who added a new dimension to batik. After actuallyexpression. contributed The Congress to a change marks ora significant merely returning from art studies in England, She took a course in batik making and instantly time, Malaysian batik rolled into the 1970s with realized the massive potential of the medium. areflected burst of the vitality general (Arney, fever 1987). in Malaysia at that In her workshop, Kutang Kraf, she turned away from conventional batik cap to experience new

275 A Brief Review of Malaysian Batik ... techniques, fabrics, designs, color combinations the hand drawn technique where the outline of the design is traced with molten wax and of marketing her exclusive, unique batik to the colors are applied to the pattern using airbrush. publicand uses via for fashion batik showsas well and as, significantly,presentations. ways She This method allowed for the skillful shading of colors and hues. The new style Malaysian hand caftan, which proved an ideal ‘canvas’ for her painted batik has been developed further to designs.was also Abovea pioneer all she of one explored size fits the all possibilities woman’s produce creative expressions that are works of stylus batik, using a canting and liquid wax to of art. These artworks are often produced by create a new type of Malaysian batik, one that designers and artists working on particular combined craft, art and fashion. combining the canting technique with brush Kutang Kraft was expanded in Sungai paintingconcepts are and the themes. produced These as fine art-to-wear works of batik Penchala, just outside of Kuala Lumpur. AzmanSutanAman and associates set up Aran Nova-batika. Those people trained at ITM (FuziahInternational Raja Uda & fashionOng, 2003). designers applied their newly acquired knowledge and became interested as the contemporary batik skills in a variety of contexts: Fatimah Chik met developed. Pitoy Moreno of the Philippines TunkuZubeidah while working at the MARA and PacoRabanne of Italy are two designers Handicraft Research Center, then joined her at who created lines based on the new Malaysians Kutang Kraft (Arney, 1987). batik. Through the 1970s innovative batik Many graduates in art and design, one another. Established producers adopted especially those from MARA Institute of thedesigners new techniques; and established young producers designers influencedexplored traditional methods and motifs. Kutang Kraft demand for ‘ethnic materials’ for both dress and Technology, turned to batik making to fill the commissioned blocks from Kelantan with miniature foliage, to stamp on to Swiss voile. Centers in the east coast states of Terengganu Ramli Malek requested block makers to build andfurnishings. Kelantan Others as teachers, worked providing in MARA skills Handicraft blocks of his designs inspired by Japanese training and marketing advice, and in technical motifs, such as the crane found in many and product development. The time was ripe Japanese art forms. Printers from East coast in the 1970s to create a unique Malaysian batik were brought to Kuala Lumpur to do the surface that was not exclusively wedded to the cap decorating on cloth in urban factories while tradition (Yunus, 2011). ITM graduates were sent to east coast to teach According to Arney (1987), until year and be a designer there (Arney, 1987). 1970 batik was synonymous with sarongs. The Long-sleeved batik shirts were introduced MARA Handicraft Development Center made as formal wear for men in Malaysia in the great strides toward product development. 1970s. Batik designers were quick to prepare But in the last analysis it was the vision of three-meter silk length, in which the pattern the people like Tunku Zubeidah that changed pieces of the shirt-back, front panels, sleeves the image of Malaysia’s batik industry. Bold and collar-were drawn separately on the cloth, geometric designs on then popular styles of aligned along the warp, for a tailor to cut out clothing, such as the kaftan and dirndl skirt, made quite an impact on the fashion world in were replaced by abstract, geometric and Kuala Lumpur at that time. linearand join. motifs The thatfloral ranged motifs harmoniously of women’s wear over the separate components. Hand drawn batik on took place during this time was the creation of silk is also crafted in yardage with patterns that A significant technical innovation that the “batik canting”, hand painted batik. This was cover the entire length of the cloth. The overall

276 Pegah Jahangiri designs make the cloth suitable for tailoring of the Malay Mail (August 31, 1986) presented Western-style dresses, skirts and blouses as the potential of modern fashion designers well as men’s shirts. It is also suitable for the by illustrating the ideas of designers who modernized baju Melayu, usually a V or round- combine the kebaya, saree, shulwar, kameez, necked version of the bajukurung, or other and cheongsam as well as other local costumes innovative designs (Yunus, 2011). stitched out of any number of types of cloth. While few Malaysians would be seen wearing According to Ngo (2007), by founding the such creations, they illustrate the attempt to Malaysian Handicraft Development Corporation assimilate Malaysia’s variety of cultures in to the idea of “Images of a Nation” (Arney, 1987) and exhibitions which aimed to promote the traditional(MHDC) on Malaysian October 1, textiles 1979, many especially workshops in areas Yunus (2011), stated that by the early of batik and songket have been organized. The 1980s, the range of silk fabrics in hand drawn MHDC has established National Craft Institute batik had grown enormously. Batik had become [Institut Kraf Negara (IKN)] at Rawang, the material of choice for formal functions and Selangor. IKN aims to attract the younger glamorous evening wear, especially among generation to the art of making traditional urban Malays. Young men and women were Malaysian handicrafts and it offers educational and outside functions. A proliferation of batik traditional Malaysian handicrafts. According to fashionalso wearing shows, cheaper reported versions enthusiastically for office wear by Wancertificates Hashim and (1996), diploma the coursesBatik Malaysia related Berhadto the media, disseminated the new fashion (BMB), a subsidiary company of a government’s ideas, inspiring established batik producers statutory body came to promote the batik and innovative young batik designers to adopt industry further. new techniques and fabrics, modify traditional methods and motifs and to generally think afresh. What emerged were a variety of new increasingly recognized as a part of local styles and products and a diminishing of heritage.As batik The national flourished carrier, in the MAS 1970s, (Malaysian it was regional differences; batik was no longer the Airline System), commissioned Kutang Kraft to province of a few well-known households in produce batik murals featuring the traditional the northeast of the peninsula but a large- scale countrywide industry. Above all, the world. Members of the airline’s female cabin widespread adoption of the stylus or canting crewkite, the have waubulan, always worn for its uniforms offices around with batik the clearly showed that hand-drawn batik, motifs, albeit silk-screen printed and mass Malaysian style, was here to stay. produced in view of the huge requirements. At the annual National Day celebrations, some of In the 1980s the introduction of high the parading groups comprising government quality and expensive materials such as and non-government participants sport batik pure silk, voile, terylene, silk satin, brocade, uniforms. Many associations have their own crepe silk, lawn, fuji and others has further specially designed batik uniform, usually in improved the quality of Malaysian batik. This was accompanied by the use of canting rather purpose and to set them apart from other than cap to produce modern and up-to-date groups(Yunus,symbolic colors, 2011). to reflect their identity and designs, some of which are based on abstract art.This Improvement has made possible the In response to the call for “National export of batik to overseas. Marketing and sale Culture” fashion designers revel in synthesizing promotion has helped the expansion of the traditional forms and cloths in to completely batik market further (Wan Hashim, 1996). avant-garde fashions. The National Day issue

277 A Brief Review of Malaysian Batik ... CONCLUSIONS Maxwell, R. J. 1990. Textiles of Southeast Asia: tradition, trade, Although batik maintained its popularity and transformation for tailored clothing during the last two decades Inc.; Australian National Gallery. of the twentieth century, there was a general . Oxford University Press, Naziree, s. decrease of originality and creativity in the 2004. Revival, evoking the batik tradition (pp. 6). batik industry. There was also an inability Kuala Lumpur The national art gallery. of entrepreneurship. There appeared to be Ngo, J. S. K. little interest in new product development, in 2007. Transforming Traditional Malaysian retraining in new techniques or in developing Songket into Contemporary Songket for marketing strategies. Producers and designers Broader Apparel Usage. (Doctor of Philosophy), seemed content to turn out the same old University Sains Malaysia. designs while others retorted to copying those Sheppard, M. of established fashion and batik designers. 2011. Malay Arts and Crafts Kuala Lumpur. The Batik designs were also being created in Malaysian branch of the Royal Asiatic Society. isolation, without a thought to market trends Siti Zainon Ismail or popular culture and without exposure to the 1997. Malay woven textiles: The beauty of a world beyond localized markets (Yunus, 2011). classic art form. Selangor: Dewan Bahasa dan The efforts of the Malaysian government, Pustaka. working through the Malaysian Handicraft Wan Hashim, W. T. Development Corporation (Kraf Tangan), and 1996. Malay Handicraft industries: origins and other organizations to develop Malaysian development Kuala Lumpur, Malaysia: Dewan crafts, including batik, is necessary for the batik Bahasa dan Pustaka. industry. Yunus, N. A. 2011. Malaysian Batik: Reinventing a Tradition. Singapore: Tuttle Publishing, 2012. * * *

REFERENCES Arney, S. 1987. Malaysian Batik Creating New Traditions. Kuala Lumpur: Malaysian Handicraft Development Corporation.

2003. Herencia Textil De Malaysia. Kuala Lumpur:Fuziah Raja National Uda, R., Art & Gallery.Ong, E. Kerlogue, F. 2004. The Book of Batik Singapore. Archipelago Press. Leigh, B. 2002. Batik and Pewter: Symbols of Malaysian Pianissimo. Sojourn: Journal of Social Issues in Southeast Asia, 17(1), 94-109. Malaysian Handicraft Development Corporation. 2007. Crafted in Malaysia (Second Edition ed.). Kuala Lumpur: Malaysian Handicraft Development Corporation

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