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Tampilkan postingan dengan label BATIK n JAVA. Tampilkan semua postingan
Tampilkan postingan dengan label BATIK n JAVA. Tampilkan semua postingan

Kamis, 13 Juni 2013

Batik Culture

In one form or another, batik has worldwide popularity. Now, not only is batik used as a material to clothe the human body, its uses also include furnishing fabrics, heavy canvas wall hangings, tablecloths and household accessories. Batik techniques are used by famous artists to create batik paintings, which grace many homes and offices.

The Javanese aristocrats R.A. Kartini in kebaya and her husband. Her skirt is of batik, with the parang pattern, which was for aristocrats. Her husband is wearing a blangkon
Depending on the quality of the art work, dyes, and fabric, the finest batik tulis halus cloth can fetch several thousand dollars and it probably took several months to make. Batik tulis has both sides of the cloth ornamented.
In Indonesia, traditionally, batik was sold in 2.25-meter lengths used for kain panjang or sarong for kebaya dress. It can also be worn by wrapping it around the body, or made into a hat known as blangkon. Infants are carried in batik slings decorated with symbols designed to bring the child luck. Certain batik designs are reserved for brides and bridegrooms, as well as their families. The dead are shrouded in funerary batik. Other designs are reserved for the Sultan and his family or their attendants. A person’s rank could be determined by the pattern of the batik he or she wore.
For special occasions, batik was formerly decorated with gold leaf or dust. This cloth is known as prada (a Javanese word for gold) cloth. Gold decorated cloth is still made today; however, gold paint has replaced gold dust and leaf.
Batik garments play a central role in certain rituals, such as the ceremonial casting of royal batik into a volcano. In the Javanese naloni mitoni “first pregnancy” ceremony, the mother-to-be is wrapped in seven layers of batik, wishing her good things. Batik is also prominent in the tedak siten ceremony when a child touches the earth for the first time. Batik is also part of the labuhan ceremony when people gather at a beach to throw their problems away into the sea.
The wide diversity of patterns reflects a variety of influences, ranging from indigenous designs, Arabic calligraphy, European bouquets and Chinese phoenixes to Japanese cherry blossoms and Indian or Persian peacocks.

Contemporary men batik shirt in typical Solo style, sogan color and lereng motif.
Contemporary batik, while owing much to the past, is markedly different from the more traditional and formal styles. For example, the artist may use etching, discharge dyeing, stencils, different tools for waxing and dyeing, or wax recipes with different resist values. They may work with silk, cotton, wool, leather, paper, or even wood and ceramics.

Rabu, 12 Juni 2013

Javanese Culture


Indonesia has many diverse cultures (an estimated number of 300 cultures and languages, among 200 million Indonesians, living on 13.677 different islands). This enormous variety in cultures has a great impact on marriage ceremonies. Every wedding in Indonesia has a different ceremony, each of them influenced by the cultures of the families involved. Every ceremony is a step in the creation of a new bound between two families.
The parents of the man (would-be-bridegroom) send an envoy to the parents of the woman (would-be-bride), proposing that their son is willing to marry their daughter. Nowadays, for practical reasons, the parents of both sides can talk directly. The parents of the couple have to approve the marriage.
Usually, the parents of the would-be-bride have a greater say, as they are the ones who will organise the ceremonies (a big wedding will require a Paés Agung (kings make-up), a small one will require a Paés Kesatrian (knight's make-up)). They are responsible for the wedding ceremonies that will be followed, such as Siraman (bathing ceremony), Midodareni (ceremony on the eve before the wedding), Peningsetan (traditional engagement ceremony), Ijab (religious marriage consecration) and other Javanese ceremonies following the wedding celebration. They will also organise the wedding reception to give family and friends the opportunity to send their blessings to the newly wed couple.



TUMPENG RICE Javanese Food

Cone is a cone of rice dish with various side dishes are placed in Tampah (large tray, round, of woven bamboo). Cone is a traditional dish that is used in the ceremony, both the nature of grief and joy. Cone in Javanese ritual there are a variety of species, among others: the sky prop cone, Arga Dumilah, Tumpeng Megono and Tumpeng Robyong.
 

 Cone loaded with symbolic meaning of the doctrine of life. Robyong cone is often used as a means of ceremonies Slametans (Tasyakuran). Robyong cone is a symbol of safety, fertility and prosperity. Cone that resembles Mount describe true prosperity. Water flowing from the mountain would live plants. Formed plants waving called "semi or Semen," which means to live and grow. In antiquity, cone of white rice is always served. White rice and side dishes in a cone also has a symbolic meaning. white rice Or cone-shaped mountain that symbolizes the hands close together to worship the Lord. Also, white rice symbolizes everything we eat, become flesh and blood must be selected from a clean source or halal.

These mountains form can also be interpreted as the expectation that the welfare of our life was more "up" and "high".
 Cooked with spices whole yellow / turmeric and given areh (thick coconut milk broth), a symbol of the solemn worship of God (manekung) with a peaceful heart (Wening). Sobriety is achieved with self-control and patience (nge "dominated for" flavor). Slaughtered rooster also has meaning to avoid bad qualities symbolized by the rooster, among other things: arrogant, conceited, when he speaks always interrupt and find out / win / correct itself (crow), and no attention was unfaithful to my wife and kids. catfish Formerly a side dish of fish used was not a catfish or carp, or other milk. Catfish survive in water that is flowing and in the riverbed. This is a symbol of steadfastness, perseverance in life and can live in the lowest economic situation though.
Anchovy / Gereh Pethek Anchovy (gereh pethek) can be fried with flour or no flour. Anchovy and Fish Pethek life at sea and always crowded symbolizing togetherness and harmony. eggs
Boiled eggs, fish sauce, not scrambled or sunny, and served whole with the skin, so do not cut, so to eat it should be peeled first. This symbolizes that all our actions must be planned (peeled), treated according to plan and evaluate the results for perfection. Java Piwulang teach "Tata, Titi, Titis and Tatas", which means a good work ethic is a well-planned work, careful, precise calculation, and resolved completely. Eggs also symbolize human beings created by God with the degree of (nature) the same, which distinguishes only piety and behavior. Vegetables and "Urab-uraban"
  Vegetables used include kale, spinach, long beans, bean sprouts, chili seasoning kluwih with grated coconut or ointment. Vegetables also contain symbols such as:


  • Watercress means "jinangkung" meaning protect, is reached.
  • Spinach (spinach) means "calm Tentrem" or peace,
  • Sprouts / cambah a means to grow,
  • Beans means thinking far ahead / innovative,
  • Scallions (onion) that symbolizes everything carefully consider the pros and cons,
  • Red pepper is a symbol dilah tip cone (fire) which gives information / useful role model for others.
  • Kluwih means linuwih or have an advantage over others.
  • Seasoning means urip ointment / living or able to support (provide for) family.

In antiquity, elders who led the prayer of salvation will usually first describe the meaning contained in the cone dish. Thus the audience who came to know the meaning of the cone and get wedaran a living teaching and advice.
In salvation, rice cone and then cut and transferred to the parent or the "elderly" as a tribute.
After that, rice cones eaten together. This cone cutting ceremony symbolizes gratitude to God and at the same phrases or teaching about the life of togetherness and harmony.

There sesanti ox familiar to us is: "Mangan ora mangan seng penting kompol (eating or not eating is an important gathering)." This does not mean though that significant deprivation still gather with relatives.
Sesanti understanding which is supposed to put the spirit of togetherness in the home, the protection of parents against their children, and love of family.
Wherever people are, although they had to go abroad, should be given to his family and still maintain ties with relatives.



Kitchen or Pawon in Java Culture


In the life of the Javanese expression is known that there are three very important namely food, clothing, and shelter. That is, in human life requires Java three very important things are: clothing (clothing) to wrap the body in order to be protected from cold, heat, and for aesthetics, food (eating) is a food that must exist to be eaten as a condition for survival; and boards (home or Omah) as a shelter or place of residence. The three elements of culture (food, clothing, and shelter) is an important symbol in Javanese life. 
In Javanese culture there is the assumption that between the houses, land, and its inhabitants is an integral and inseparable. People feel at one with the house and land where he lived, at the same time feel at one with the village settlement. Such a feeling of unity that led to a sense of security and peace for the people who inhabit the house. With the existence of such feelings, then the house is an important part of human life. Because the kitchen is part of the house, by itself also has an integral relationship with the occupants of the house. 
For the Javanese, because the house is considered very important, then the spaces in the house arranged in such a way that there are parts that are open to outsiders or guests, and there are parts that are taboo or should be hidden from outsiders .
In this regard, the following article will focus yourself on one of the elements of Javanese culture, which is part of the board, or Omah (home) called Pawon or kitchen. Kitchen, or Pawon have the meanings and functions that are important in organizing the preparation of food needs, as well as storage, as well as other activities. 
The problem that arises is the extent to which human beings interpret Java and treat the kitchen, or Pawon to meet the needs of eating, drinking, and other needs. Along with the development of human life, the changing natural environment, and advances in technology, kitchen or Pawon have also developed the form, meaning and function.
The kitchen, in Javanese called Pawon, containing two senses: first, building a house that is reserved for cooking and, secondly, can be interpreted furnace. The word comes from the word Pawon awu basis which means ash, get the prefix and suffix of pa, which means place. Thus, Pawon (pa + awu + an), which means the place awu or ash. The reality is indeed so, the kitchen or Pawon indeed where ash (the waste wood burning / charcoal ditungku), so it is considered as a dirty place. The kitchen in the traditional life of the Javanese, is the ash, in sanasini visible hanging Sawang (soot) are black by the smoke of fire. Similarly, cooking equipment because of the soot-black color. Probably caused by circumstances like that (looks all black and dirty), then in the arrangement of a traditional Javanese house, the kitchen is generally located at the rear. 
Kitchen or Pawon as additional buildings, are not regarded as a principal or important buildings, and construction of the kitchen very simple. Therefore to make the kitchen is not required such complex requirements will make the main house which requires computation time (horoscope). In traditional Javanese life, eating is not getting much attention. In Book IV Wulangreh work Buwana Paku says' aja pijer manganese Nendra '(do not always eat and sleep), and' occupies the central place in the literature of Jawa3.
andangan Javanese someone pointed out that strength is not dependent on the quantity of food that enters the body, but the embroidery and inner. People are not going to be weak because his body just a bit to eat, even on the contrary, people will get a 'power' as they often carry out 'ngurang cut down on eating and sleeping (tirakat or ascetic).

Influenced by the philosophy of life that's so, then the composition of architecture Javanese house, kitchen or cooking Pawon and no special attention. However, in the mindset of the Javanese, eat interpreted to receive the blessings of Goddess Sri is regarded as a source of livelihood. Respect for Dewi Sri by the Javanese are not embodied solely in eating and cooking, but seriously handling the processing of agricultural land since the beginning to the postharvest.

Women and the Kitchen
In the traditional life of Java, the kitchen is the realm and authority of women. That's why the wife in the life of Javanese culture called kanca wingking (friends who are and / or working in the back). Rear here means in the kitchen. This term is considered degrading treatment of women, as if the authority of women only in the kitchen alone, no ability to perform in front.

That the kitchen is identical with and into the realm of women and authority of women, as reflected for example if a husband is often the kitchen there is presumption in Javanese culture that is considered less trusting husband wife in the kitchen or managing the household economy. Male or husband of such terms as kethuk or deride. So the kitchen is the world of women, and as a special identification feature, the kitchen in the life of Javanese traditional emphasis on Kendhil and smoke. This is confirmed by the existence of folklore Jake Tarub. This story symbolizes how the role of women in the kitchen, and can be interpreted against any husband should believe that a wife in relation to the kitchen.

In accordance with the position of women in the kitchen and women's relationship with the kitchen, the kitchen was in the making there perhitunganperhitungan traditionally associated with women. According Koentjaraningrat, there is confidence in the Javanese that the kitchen is the weakest part of the house because the kitchen is the place of women, and women were considered the weakest creature called Liyu. The meaning of the word Liyu, in Javanese-Indonesian dictionary (10), can be interpreted tired or fatigued. From the meaning of this word can be defined that work in the kitchen will be accomplished / tired.

In making the kitchen or Pawon anyone still using Java perhitunganperhitungan. For example, because the kitchen is considered as a woman's place is to build a kitchen should be started when Neptune nyaine (born wife of the market day), for example Monday Pon, Tuesday Wage and so forth. In order to use the kitchen given a safety, there also are using the calculation of fall arrive lara (arrived = fall, lara = dead), so the kitchen or Pawon interpreted as
where things die, or place of discharge.

In the study of traditional housing, creation of Java, there is a kitchen that starts with the calculation of the fall in order Liyu which means granary. As it is known that the barn is where the food supply, while Pawon or kitchen is a place of processing or cooking. So the calculation is expected to fall in order Liyu, so Pawon or kitchen never stops or runs out of food. But generally adopted is to avoid the day geblag (death day), close relatives such as parents, spouses, or children.

Pawon and Kitchen Appliances
Traditional kitchen or Pawon is inseparable with the equipment used in the kitchen, that is a traditional furnace that has a variety of local designation of which Pawon, cool, dhingkel, luweng, or brazier. Furnaces called dhingkel made of hollow bricks which one or completely open. Other forms such as dhingkel is called luweng, but luweng longer and has a hole three to four and there is a designation for each piece of work called cangkem luweng eg where to enter firewood, perforation luweng or slowongan to put the cookware, dhingkel tumang or lips, and lawih as a crutch (ganjel) placed on the lips. Other furnace equipment which is generally used by most residents in rural areas is cool. Furnace cool tool called also have parts that function that is cangkem cool to put the fuel, and at the top of the perforation cool to put cooking utensils. Both dhingkel, luweng, and cool use of fuel wood, sepet, bamboo, or dry waste.

Other furnaces are also still used brazier, which fuel to use charcoal. Anglo also has sections that each has a different function that is Sarangan to place charcoal brazier, brazier cangkem (mouth brazier) is where we wag fan for a larger flame. Other equipment that is now already widely used is the stove. In the traditional kitchen cooking equipment which is generally used is the equipment made of clay and bamboo matting. Clay cooking utensils such as pots, Pengaron, Kendhil or jemblukan, cowek, kekep, Genthong. In addition to the equipment of clay are also many who use the tools of copper, iron, aluminum, zinc, such as cormorant, kenceng, pans, kettle, kettle, pot. Other equipment is made of woven bamboo steamer, salary, if, cething, Sandpipers basket, winnowing, and from coconut shell selon example Irus, enthong, siwur; equipment from wood for example munthu, grated, enthong, gledheg or grobog. A place to store kitchen utensils are generally placed on a wooden rack, or shelf bamboo, or something called paga,
bethekan or pranjen.

Viewed from the furnace equipment that is dhingkel, luweng, cool, and furniture Pawon mostly made of clay, woven bamboo, as well as a place to store the equipment, almost all of them by exploiting bahanbahan contained in the environment.

By the passage of time, as well as the development of technology, Pawon or kitchen may experience physical changes as well as its content as in town. Thus Pawon understanding, meaning and function will also experience a shift. If that happens then the function and meaning of philosophy Pawon will be separated from the Javanese way of life

Magic in Java (Magic & Mysticism in Java)

By VICTORIA LEPAGE—

The recent death of ex-President Soeharto of Indonesia at the age of 86 has reminded me that I was present in Jakarta in 1967 during the bloodbath in which the Communist Party was decimated and General Soeharto rose to political power, along with the minority modernist Muslim party that supported him.

At that time Indonesia was only nominally Muslim: under the charismatic President Soekarno it was animistic, feudal, steeped in an other-worldly mysticism, and was infested with starving beggars, superstition and black magic practices. General Soeharto, of humble village origin, had risen high in the military apparatus and married into a family of the minor nobility in Solo. His marriage gave his political aspirations legitimacy in the eyes of Indonesians, who believed in the ancient tradition that links royal status to the right to rule.

The General was well known to have a close affiliation with a Javanese magico-mystical school believed to give him great occult powers, yet from the time of his ascension to the presidency he appeared, unlike ex-President Soekarno, to deny the affiliation, at least publicly. The new pro-Western president donned the Islamist black pitje and publicly espoused and supported the political arm of orthodox Islam, which in the main was vehemently opposed to any and all occult practices. It proved to be the best thing that could have happened to the country.

Whatever President Soeharto’s questionable legacy in other areas, in this respect he dragged Indonesia from the dreaming Middle Ages into the modern world. Today, Indonesia is officially a member of the great Muslim international fraternity, and Islam’s austere religious mores have increasingly infiltrated the national culture, modifying its more primitive animistic traits and greatly strengthening its influence in Asia-Pacific politics.

Nevertheless, Pak Soeharto retained to the end of his life his private allegiance to Javanese mysticism. Doctors who attended him in the last weeks of his illness, during which he rallied more than once from heart, lungs and kidney failure, said they were amazed and baffled by his recuperative powers. It was commonly believed, however, that the power of spirits and the implantation of many lucky charms inside his body was the factor keeping him alive. Indeed, those who were close to Soeharto in his home town of Solo, the heartland of the Javanese culture, have attributed his resistance to death to his devotion to the powerful occult forces that resided in him throughout his life.

According to a recent article in the New York Times, all six presidents of Indonesia “paid respects to the spirit world, visiting sites said to hold mystical powers, consulting with seers and collecting tokens of magic like the Indonesian dagger called a kris.”1 Among these leaders, Soeharto was outstanding as a devotee of the occult. He studied as a boy with a spiritual teacher and performed ritual acts throughout his presidency, continuing to do so even after a popular uprising deposed him in May 1998.

According to his aides, over the years he made frequent visits to sacred places, including mountains, caves, tombs and ruins, and took ritual baths in oceans and rivers sacred to Nyai Loro Kidul, the mighty Queen of the South Seas. He also collected hundreds of sacred objects in order to absorb their magical power.

The Javanese Science

Despite the ascendancy of modernist Islam throughout the nation, Soeharto’s private loyalty to Java’s spiritual past is mirrored in Javanese society in general, though its allegiance now tends to run underground in the face of Islamic disapproval, especially that of the strict Wahhabi sect, which over the years has become extremely influential. To the outsider today all Indonesians are strict Muslims, but under the pitje or the headscarf there is likely to be concealed a mystic of quite a different stripe. The people of the island of Java in particular are very proud of their indigenous pre-Islamic spiritual tradition, which they refer to as the Javanese Science, and while few may actually practice it now in its pure occult form, most have a proprietorial understanding of at least some of its sacred principles. They are evasive about discussing this hidden dimension of their society, especially with Western foreigners, but one would be mistaken in not taking the Science very seriously indeed as the essence of the Javanese culture even to the present day.

The Javanese Science is a syncretic blend of Hindu-Buddhist, Sufi, Taoist and ancient animist strands, and evolved in the royal courts of Solo and nearby Jogjakarta in Central Java as a system of self-transformation confined solely to the aristocracy. But since the Revolution that ejected the Dutch rulers from the country after the Second World War, the Science emerged into the popular culture in the form of hundreds of kebatinan (or inner-being) sects, each one of which celebrates some aspect of the royal mother tradition. These esoteric sects have drawn a very large minority of the Indonesian population into their sphere, forming an immensely creative and diverse subculture at the leading edge of national life, very much as happened in Japan after the Second World War.

The Kebatinan movement has in many respects evolved into an inherently new form of mysticism. Syncretism raised to a religious principle is its dominant keynote, a drive towards pluralistic unity that echoes a prominent feature of the New Age spirituality appearing elsewhere in the world. But the Javanese approach to the universe and the human situation generally, though at its best of a high metaphysical order, is in many respects quite different from that of the West. It doesn’t involve religious theories and dogmas so much as a science of inner energies perceived directly with a highly sensitised intuition – one might say, clairvoyantly – and manipulated directly by the will.

This shamanistic approach can lend a disconcerting ambiguity to those moral categories that the Western mind likes to regard as eternally fixed: Justice, Compassion, Truth, Altruism, Duty and so on. To the Javanese, mystic things in the moral sphere are not good or bad according to what we in the West would regard as an ethical judgment, but according to whether the personal energies concerned balance out in a manner beneficial to the whole. Do they bring harmony to the individual, do they stabilise him or her? For the Science all is dynamic, all is in ever-transformative and purposive flux: good is what works in the present moment to the spiritual benefit of the whole; bad is what fails to do so. This stance contributes a relativistic and unpredictable note to the Javanese outlook that Western diplomats and others have famously found difficult to deal with, yet its creative power is undeniable.

Javanese adepts with access to this underlying realm of subtle forces are reputed to have diagnostic powers and techniques of psychic healing of extraordinary efficacy, and are believed to understand the dynamics of spiritual physiology better than any other race on earth. The Javanese Science has much in common with other shamanistic Eastern paths such as have been found in Tibet and Japan, where syncretism has similarly been raised almost to a spiritual principle. These too have dealt in patterns of shifting subtle energies rather than fixed doctrinal systems. But there is something different and mysterious about the Javanese Science, a depth, a quality of purity that most researchers are agreed sets it apart from any other form of mysticism. What makes it unique?

The Invisible People

In a visit to Indonesia some years later, I was able to put this question to Pak Joyo, at one time the Director of a Christian Theological College in Central Java and the pastor of one of the largest charismatic Lutheran churches in the Reformed Dutch Church of Indonesia. Pak Joyo was a fourth-generation Christian whose great-grandfather was converted to Christianity at the point of his Sultan’s kris (the Sultan himself having been similarly converted by Dutch missionaries), and Pak Joyo followed in his family’s footsteps in deciding to train for the ministry. But halfway through his theological training, he decided to quit the church and give all his allegiance to a contemporary mystical sect called Hardopusoro which interested him a great deal more.

However, he told me that in a vision Christ asked him to remain in the church, where he could be more useful than anywhere else; and after an internal struggle he obeyed. Pak Joyo went on to become a multilingual international emissary for Christian ecumenicalism – but, with the blessing of his bishop, privately continued in Hardopusoro, in which he became a high initiate. Such dual religious allegiances are entirely natural to the Indonesian temperament.

Pak Joyo’s answer to my question surprised me. The source of his country’s spirituality, he said, was not familiar to other races. It was unique because it stemmed from the Invisible People, the Badui, who grew no bigger than a ten-year-old child and who lived in an inaccessible part of the mountainous jungle in South Bantam, about a hundred miles west of Jakarta. The Badui were “closer to the soul” than other people, said Pak Joyo, and were the X factor in the background of the Javanese Science. Invisibly they had instructed the Javanese people for nearly three thousand years, helping to guide them from their original primitive state to their present civilisation.

The Badui were not Indonesian and had no part in the country’s laws or economy, but lived apart in forest territory forbidden to outsiders and had great spiritual knowledge and strange magical powers. Although rarely seen by outsiders, they were held in awe in the marketplaces throughout Indonesia. When Indonesian spiritual and political leaders needed advice, said Pak Joyo, even the most illustrious of them went into the jungle alone to consult the Badui seers, for the understanding of the Invisible People on spiritual matters was a universal one that embodied a primordial tradition beyond factions or institutions.

President Soeharto would undoubtedly have been one of those top leaders who was not too proud to seek enlightenment, possibly of a political as well as a spiritual kind, from these strange priestly people of the jungle. Leaving behind his aides, bodyguard and driver, he would have had to ascend alone the jungle forest track that led to the Badui colony, there to consult with its leading prophets.

Inexplicably, although remote from the teeming civilisation surrounding them, the Badui knew everything that happened in it long before the news was heard on television. They had prophesied the Second World War and that the Dutch would leave the country soon after peace was declared. They knew the destiny of peoples worldwide. The Badui, it was said, planted sacred trees – living trees, as they called them – representing their tribal leaders in a hallowed grove called the Artjas Domas, which was visited once a year by the highest-ranking Badui priests. By studying the growth on the trees clairvoyantly, they were able to read the fortunes and destiny not only of people, but of nations and the world. From this yearly examination everything of value to their leading families was recorded in a script known only to them. The Badui were said to have telepathic powers and a magical way of keeping others away from their settlements, especially from the Artjas Domas.

I have recently learned that the Badui people have now inexplicably disbanded and their old territory has been settled by Indonesian farmers. But when I revisited Java in 1980, their colony was still a great focus of mystery and unanswered questions. Why were these strange forest-dwellers so influential? What kind of special wisdom did they possess? Where had they come from? And why did they live apart, alien, feared, invisible – and yet, according to Pak Joyo, all-seeing? Sir Stamford Raffles referred to them in his eighteenth-century History of Java, yet since then no traveller from the West had succeeded any better than the Indonesians themselves in setting foot on the Badui’s inner territory or penetrating their secrets.

Eventually I learned more about this remarkable people from Dr. Paul Stange, an American lecturer in Asian Studies who grew up in Indonesia and who obtained a doctorate from the Michigan University in the US for his study of Sumarah, an akebatinan sect that has become influential in Indonesia since the Revolution.2 In his thesis, Dr. Stange was able to relate the Badui indirectly to the growth of kebatinan sects such as Subud and Sumarah as constituting a cutting edge phenomenon in the evolution of mystical consciousness.
Custodians of the Soul World

It seems that the Badui are of the dark-skinned Tamil race that is believed to have spread from Africa long ago into southern India, and from thence into Southeast Asia and the Pacific Islands, where they lived unmolested for thousands of years. But about eight thousand years ago the Malays, at that time a mainly Caucasian race from the north, crossed the Sunda Strait and displaced the Badui culture in the Sunda Islands, with the consequence that most of the indigenous race withdrew into the mountainous interior of Java, far from the spreading communities of the newcomers, while a remainder migrated further east.

Some time in the first millennium BCE the remnant of the aboriginal Tamil people in Java was joined by a large group of Indian initiates – probably, some authorities think, refugees from the defunct Indus valley culture in which holy trees also played an important part – and the two groups, each with its heritage of ancient racial wisdom, together formed the Badui priesthood.

Forty Indian Hindu-Buddhist families, constituting a sacred nucleus, inhabited a central group of three villages served by an outer ring of vassal Badui communities: together the two clans built a spiritual power-centre in Java which, isolated though it was for nearly three thousand years and finally greatly diminished in numbers, preserved unchanged its sacerdotal structure and identity and its pivotal place in Javanese religious life. Those in the inner esoteric circle wore white sarongs and turbans, were called the White Ones, had strict rules of conduct and were forbidden by their laws to have any communication whatever with the outside world, while those in the outer villages wore blue sarongs and turbans and were called the Blue Ones. There was no intermarriage between the two clans.

Although the use of money or of weapons was forbidden to all in the colony, the ascetic laws of the Blue Ones were less severe than those of the others, and enabled them occasionally to visit an Indonesian village to obtain by barter the very few items the farming colony needed (mainly smoked fish and salt), and to serve where necessary as liaison officers and spokespersons for the White Ones.

Despite their harshly primitive way of life, it would be a mistake to suppose these jungle people were not, in their own way, highly civilised. Nina Epton, a British journalist who is the only known Westerner to have met the Blue Ones and a few of their holy White Ones (although many Dutch researchers tried before her), speaks in her book The Palace and the Jungle of their aloof dignity, their air of having “a destiny apart from other mortals,” and above all, of what she calls “the Tibetan look.” This was a wide-eyed all-seeing look common to many of the Badui, which she describes as staring beyond this world into the spiritual realm. It was a look she associates especially with pictures of seers like Guru Padma Sambhava, the great Indian initiate who brought Buddhism to Tibet.3

Ms. Epton has described the Badui physiognomy as varied and clearly of an older ethnicity than that of the Indonesians. But the elderly leader of the White Ones, reputed to have been a saint and a sage and obviously of a superior caste to the others, was plainly more ethnically advanced. She noted in particular that he had a worn, patient and ascetic face which reminded her of that of a well-mannered European intellectual. In other clothes he would have passed unnoticed in an English crowd, for he had a very light complexion, a narrow face and the gentle bearing of a civilised person. Altogether, Epton says, the Badui were not what one expects from the jungle.

This assertion is borne out by the personal history of a young runaway, the son of a pu’un or chief of the White Ones, who in the seventeenth century escaped the colony to become a stable boy in the then Sultan’s palace. Soon he became the Sultan’s counsellor and then his son-in-law, and today his descendants are the Jajadiningrat family, one of the most aristocratic and politically influential families surrounding the Indonesian presidency. Throughout the intervening three hundred years, the Badui continued to “read” the sacred tree of the stable boy’s line, to visit his Jajadiningrat descendants once a year with predictions and advice for the coming year, and where necessary protect the members of the family from danger.

In fact, the sole reason for Nina Epton’s unprecedented interview with the leader of the White Ones was that, through the Sultan, she obtained an introduction to the Jajadiningrat family, who asked the White Ones as a special favour to grant her an interview. In no other way would the meeting have been possible.

The Badui priests continued to follow the destiny of the Jajadiningrats, says Epton, because for the Invisible People once a holy lineage is laid down it is laid down forever, it belongs to the timeless realm of the soul world. The Badui in fact denied the reality of time. Their sages believed that the rules of life were laid down once and for all at the Beginning of things by an ancestral divinity called Batarratunggal, who will one day return to govern the Badui and the world. In the meantime, it was their sacred obligation to maintain everything exactly as it was at the beginning, without change, without innovation. Nothing concerning their customs or belief system must be disturbed from their state of primordial perfection: hence the necessity of isolation.

To the modern Javanese mystic this Badui belief is merely the folk expression of a deeper spiritual reality. He sees the concept of a Beginning-time or Dreamtime to which so many early races look back with longing, believing it to be a cosmic paradise that must be ritually preserved for the future, as simply a metaphor for the inner soul plane, which is both cosmic and interior at one and the same time. That inner place, eternally omnipresent within each human being, is really the cornucopia from which all spiritual paths and religions flow forth in their season. As a race we have long ago lost contact with such a high level of soul-consciousness, and so it is called by other names: the Garden of Eden, the Dreamtime, Paradise, the Kingdom of Heaven. But according to the Javanese view, it is in truth a soul-world present in each one of us, a celestial headwaters from which the river of the spirit flows continually into our bodily spacetime. This higher/inner world must be kept purified, as it once was and will be again in the future, and it was the task of the Badui to help do this, since we as a race cannot.

No one knows for certain why the Badui people have now dispersed. But it is evident that deep changes reflected in its politics have overtaken Indonesia within the last few decades. The erratic occult climate that pervaded the early years of independence has yielded not only to a stricter Islamist discipline but also to the growing apparatus of democratic government, a maturing judicial system and economic reform, all of which has brought stability and prosperity to the people. The nation has come of age. According to Dr. Stange, who received a wealth of Javanese lore from the Sumarah cognoscenti, there is a school of thought that believes the Badui have now fulfilled their mission in the South Pacific, and that is why they have at last dispersed into the Indonesian population.

The reign of animism in this region under the sovereignty of Nyai Loro Kidul had long been prophesied to end during the twentieth century, giving way to a new and higher religious and cultural dispensation for the Pacific races – one perhaps best represented by the modern Kebatinan movement in Java. It is thought that the Badui understood well that this prophesy has now been fulfilled. They understood that their reign is no longer needed – or indeed tolerable under the new conditions. Having played a custodial role by preserving in secret the pure and unsullied soul-conditions necessary for such a surge of higher consciousness, they have now been able to die out as a separate society. Whether or not there is any truth in this theory, it is undoubtedly the case that around the Pacific Rim a new religious spirit is rising. Akin to kebatinan and to the Javanese Science in general, it is based on principles of high shamanism known to the Badui many thousands of years ago, but forgotten by modern humanity. Recognising that enormous healing powers are locked in the ancient soul-ways, seekers visiting Indonesia today find common ground with the synthesising mysticism of the new kebatinan sects and are forming part of a spiritual network that stretches from Findhorn in Scotland to the esoteric centres of California. This development in the Pacific zone has in it the potential for creating a new religious paradigm of global significance. But how much of it is indebted to the heroic patience of the Invisible People of the Javanese jungle, as mystics like Pak Joyo believe, we shall probably never know.

Footnotes:
1. ‘As Suharto Clings to Life, Mystics See Spirits’ Power’, Seth Mydans, The New York Times, Jan. 27, 2008.
2. Paul D. Stange, The Sumarah Movement in Javanese Mysticism, UMI Dissertation Information Service, Ann Arbor, Michigan, 1980.
3. Nina Epton, The Palace and the Jungle, Oldbourne Press, London, n.d., 55.

Selasa, 11 Juni 2013

other of Javanese traditional dagger

The keris (pronounced "krees") is a traditional dagger found throughout SE Asia. It is believed by most scholars and experts to have originated in Java in the 14th century AD, however this is a contentious subject and its origins are still uncertain. A well-known oral legend links keris origins to a mythical cultural hero known as Prince Panji. Panji is said to have lived in 920 A.D. He is the main character of many stories telling of his adventures and romances. The keris comes in many shapes and styles, but the characteristic feature is the base of the blade called the ganja, where the blade widens to form a pointed guard. This feature distinguishes a keris from other types of edged weapons. The keris is no ordinary dagger. Though it was historically used as a weapon, it has always been an intricate part of Indonesian culture in which it plays practical, social, and mystic


A keris smith is called Empu, an honorary term meaning "lord/master". One can only obtain this title with skill, spiritual depth, and knowledge of appropriate ritual required for making a keris. Making a sacred keris in not a simple or quick process. First, the Empu must choose an auspicious day to begin. He must then eat only plain while rice and drink only water for two to three months prior to beginning. . A person desiring a keris discusses his wishes with an Empu. Choosing a keris is not a light decision. One must choose a keris appropriate to his social status and position. A keris with gold on its hilt or sheath, for example, is traditionally reserved for royalty, as gold is thought to be a gift from God. If a person chooses a keris not suited to his status, it could cause harm to him and others. It is so intimately connected with its owner that a man and his keris are considered one and the same. If a man cannot be at his own wedding ceremony, his keris can represent him.
The main parts of a keris are its blade, sheath and hilt. Each part helps to characterize the keris in terms of origination, era, owner, and symbolism. The blade is the most valued part, in that it holds the sacred power of the keris. There are two main constituents of the blade: the pamor (the damascene design on the blade) and the dapur (the shape of the blade). A combination of metals is used in the making of a keris. Keris smiths make different blends of iron, steel, nickel and sometimes meteorite. The Javanese consider kerises made with meteorite to be particularly powerful. The meteorite is obtained from a meteor that fell in Prambanan, central Java, in 1729.
The smith heats thin layers of metal, pounding and folding and fusing these layers together. He continues reheating, adding more layers and refolding, sometimes more than sixty times, until the desired product is achieved. The forging and technique of folding and pounding of different metals creates a variety of designs on the blade, called pamor. To bring out details of the pattern, a mixture of lime juice and arsenic is applied to the blade, which turns the iron and steel black, while the nickel remains white. This creates a beautiful contrast, highlighting the pamor design.
Pamor comes in many varieties, each having a particular symbolism. pamor can be divided into rekan and tiban, respectively meaning "willed" and "fated". A rekan/willed design is planned by the smith. A tiban/fated pattern is unplanned-left to God's will. These patterns have very strong spiritual connotations. pamor is further classified into particular patterns. The pattern on this particular keris is called "wos wutah", which means "scattered rice grains". It is thought to bring luck, tranquility, and a peaceful life. Wos Wutah is of the tiban class, which gives it strong spiritual power and energy.
cal roles

Tips for taking care of batik



Tips for taking care of batikTo maintain and taking care the beauty of your batik,
there are some tips for you:

  • Avoid washing your batik by washing-machine and detergent. Wash it with your hand, use either shampoo dissolved with water or body-soap. 
  • Dry it under the shade without pressing it before. Avoid drying under the direct sun light. Let it dry naturally. 

  • Foil your batik with another cloth before ironing. Avoid the direct heat from the iron.
  • Avoid spraying cloth fragrance, softener, or perfume directly on the batik.

The Legendary Batik Market



As people said, during the colonial era Klewer Market was a train station. People also used this place to sell merchandises to the train passengers; therefore, it was called Slompretan Market. The word slompretan comes from slompret (means trumpet) because the departing train’s sound is almost similar to the sound of the trumpet blown. Slompretan Market was also thronged by merchants who sell their textile products such as batik. These merchants sold their batik by carrying them on their back/shoulders and the batik looked dangling (klewer). Later, this market is well-known as 

Klewer Market - dangling market.
In 1970s, this market was renovated into a huge two stories permanent building. This market accommodates two thousand kiosks and the buyers would feel more comfortable to shop because of the wide stairs giving more open space.

The Cheap Textile and Batik Wholesale Center
KLEWER MARKET

Walking along its wide aisles, from one block to another block, various kinds of batik clothes as if persuade you to buy them. From kebaya (Javanese traditional woman cloth), fabrics, formal clothes, to batik shirts, house dress, beautiful blouses and kids clothes. Not only Solo Batik, this market also provides batik collections from Banyumas, Pekalongan, Madura, Yogyakarta, etc. You will easily find both the stamped batik for thousands rupiah and written batik which is way cheaper than the one in boutiques/stores. Bargaining skill is the most important thing to get the best price. Most of the kiosks also sell wholesale for cheaper price instead of buying in retail.
Go to the second floor, you will find various kinds of textiles, from school uniform, shirt, jacket, ties, cotton fabric, and silk. The unique thing is, there are tailors in this market, ready to sew the fabric you bought into your dream cloth in less than a day.
Tired of shopping and walking around this textile market, you can go to either the front or the side of the market. Various kinds of food stalls are not only ready to be a rest place, but also the place to enjoy various kinds of traditional food. Nasi Pecel, Nasi Liwet, Tengkleng, Dawet, Gempol and many kinds of food and drinks are ready to relieve your thirst and hunger.

Carnival Batik Solo Indonesian

the Solo Batik Carnival is an annual celebration of Indonesian heritage.


During the parade, models present elaborate, colorful costumes made from traditional batik cloth. Wearing the costumes, the presenters dance a traditional number in the streets while accompanied by music.
Indonesian batik, recognized by UNESCO as a Masterpiece of Oral and Intangible Heritage of Humanity in 2009, is made using a manual wax-resist dyeing technique. Traditional colors such as dark brown, white, and indigo are representative of the three major Hindu gods. Those familiar with the patterns of batik can determine the royal lineage of a person based on the cloth he or she is wearing.
Batik is a craft that has high artistic value and has become part of the culture of Indonesia (especially Java) for a long time. Javanese women in the past made their skills in batik for a living, so in the past batik work is exclusively women's work until the discovery of 'Batik Cap' which allows the entry of men into the field.
Various regions of Indonesia have their own unique patterns—flowers, nature, folklore, animals—that often take their themes from everyday life.
Batik fabrics and patterns can also be found in Japan, China, Malaysia, Egypt, Singapore, and several other countries.
The types of batik are:
1. Batik Kraton
2. Bati sudagaran
3. Batik peasant (petani)
4. Batik Dutch (Belanda)
5. Batik China or Chinatown (Pecinan)
6. Javanese batik Hokokai
7. Batik buketan
8. Batik lasem
9. Three domestic batik (Batik Tiga Negeri).


Javanese Batik as a Commodity


In 18th century, people began making Javanese batik as a market commodity. The production process is done by females in rural villages with the infestation from Chinese businessmen/women in Java. In the mid 19th century, the women of Indo-European and Indo-Arabian descendants also joined the business, and from that time batik industries began to appear and grow in major cities. Women from rural areas came to the cities to be batik labors and it led to job division between men and women in batik industries; men held the job in preparing and dying the cloth, while women worked on the drawing the pattern.
In the progress of batik industry, the process of hand-drawing in batik production is slowly but surely shifted by printing technique, by which the industry can run fast in producing mass amount. Further on, most batik companies use printing technique and only a few still using hand-drawing system. Finally, because printing is a masculine job, the need of women labors becomes less and less.


 In Javanese tradition, batik has an important cultural value, for batik presents in many stages of a Javanese life since the birth to the death. Batik (cloth) presents in mitoni ceremony (a kind of baby shower party when the pregnancy entering the 7th month), presents in the newborn ceremony, in the wedding (called sidomukti batik, used by the couples to represent blessing), when a person dies the body should be covered with batik cloth and lied on a bed covered with 7 layers of batik cloth along with other stuffs.
During the era of Java Royal kingdoms and Dutch colonialism, batik also presented elitism symbol, describing the social rank of a person. Even these days, this symbolizing function of batik is still applied in governmental bureaucrats, the royal family members (in Cirebon, Surakarta, and Jogjakarta palace), and also in some groups of society. This symbolism was related with type of pattern and batik. As an example, batik with ceplok pattern is only appropriate for leaders, for the pattern resembles hope of the people that the one who wears it will be a good leader. Another example, hand-drawn batik is considered more beautiful and valuable than printed one.
Watching the dynamics progress, the principle and interest of industrious market that concentrate on mass and quick productivity; can batik—especially traditional hand-drawn batik—survive amid this condition? It is possible, that someday batik is considered as insignificant way of cloth decorating. Hand-drawn batik cloth might grow scarce and more expensive for it takes longer time to produce the various colors and patterns in order to resemble the values. Won’t this situation make hand-drawn batik cloth as a limited “collectors’ edition” item? Basically, for Javanese society batik cloth is not merely an artistic cloth, more than that batik has the importance as a culture.

History of Javanese Batik

Not so many records can be found on the development of Javanese batik history. It is mentioned in one myth that batik has already existed since 700 AD. In this myth, its began when a prince from Jenggala (near Surabaya—Red), Lembu Amiluhur, married a princess from the royal family of Coromandel, India. From the princess and her maids, the local women gain the knowledge of weaving, making batik, and cloth coloring.
Printed record just appeared hundreds of years later, approximately in 15th century in the region of Galuh, north-west Java, in the pre-Islam era. Most of the myths or printed records were found in the north-coast of Java, at the period before Islam entered. The area had the role as the center of trading and for that, it received strong cultural influences from India, China, and Persia.
It was after Mataram Kingdom developed and adopting the coastal cultures in 17th century. That batik reached the deeper regions of Java and grew into the sophisticated and delicate Javanese batik as the manner of royal kingdom. Batiks from Jogjakarta and moreover Surakarta Kingdoms, and every pattern descended from them, are regarded as the highest esthetic in batik.
Among many factors supporting the development of batik in Java, the support from the royal government was the most dominant one. At that time, batik was considered as the keprabon (highest rank), that described symbols of greatness and royalty, and also as the ‘official’ cloth for traditional and ritual ceremonies. Although others than royal family were able to wear it in daily life, they are limited to the abdi dalem (royalty servants). Symbolically, the wearing of batik cloth in royal environment showed a way to legitimate the power of the royal palace. At this point, batik became a symbol of elitism.

Through times, the elitism symbol of batik still lingers and appears in royal palace environments (Jojakarta, Surakarta, Cirebon), governmental positions, or in society of certain cultural traditions. From the government of this republic (Indonesia), batik has always gained a prestigious rank since the era of Soekarno, Soeharto, Gus Dur, even until now.
Yet in fact, through its dynamics progress, batik finally ends up becoming a mere commodity in the industrial business world. From that phenomenon, a question arises: Can batik along with its elitism and all of its symbolic values be preserved?


what's Blangkon

Blangkon is a unique traditional headdress made of batik cloth. Blangkon only used by men in the community of Java. Blangkon function at the moment is like keris, namely as a part of Javanese traditional clothes. Blangkon at this point is actually a replica of the headgear in ancient times. In antiquity, blangkon a batik cloth tied around the head, but now blangkon resembling a hat. 
 Blangkon built a philosophy of the Java community who are good at keeping secrets, do not like to open a disgrace to others or yourself, always careful, and as evidence of the manners of Javanese nobility. Will try to smile and laugh even though his heart was crying, he has in mind is just like where to do what is best for each other even at the expense of himself.













 Blangkon symbolized as a man's prowess. According to its shape, blangkon divided into 4: Blangkon Jogjakarta, blangkon Surakarta (Solo), blangkon Kedu, and Blangkon Banyumas. For some types of blangkon anyone use a bulge on the back blangkon. This bulge indicates the man's haircut is often tied their long hair on the back of the head, so that part is sticking in the back blangkon. Bulge on the back blangkon called mondholan.


There are a number of theories that is the influence of the use of blangkon, Hindu and Islamic culture absorbed by the Javanese. According to experts, the Muslims who go to Java consists of two ethnic Chinese are descendants of the Chinese mainland and Gujarat traders. Gujarat traders are Arabs, they always wear a turban, which is the length and width of cloth tied around their heads. Turban is a Java inspire people to wear iket heads like the arab descent.

There is another theory which came from the elders who said that in antiquity, iket head turban is not permanent like always tied to the head. But with the economic crisis caused by the war, the fabric becomes an item that is hard to come by. Therefore, palace officials asked artists to create a headband that uses half the usual for efficiency then creates a permanent form of head cover with a cloth called blangkon more efficient.

In antiquity, blangkon it can only be created by skilled artists with grip (rules) standard. The more fulfilling grip set, then it will be higher blangkon value. An expert has examined the cultural named Becker Blangkon manufacturing procedures, it appears that the manufacture blangkon requires a skill called "virtuso skill". According to her: "That an object is useful, that it required skill to make-virtusou Neither of these precludes it from also thought beatiful. Some craft generete from within their own tradition a feeling forr beauty and with it appropriete aesthetic and common standards of taste ".

Assessment of beauty blangkon, apart from meeting the standard are also depending on how far a person will understand the taste and standard provisions that have become social standards. Policies for blangkon grip, was not only to be followed by the manufacturer, but also by its users. As expressed by Becker as follows: "By accepting beauty as a criterion, Participants in craft activities on a concern characteristic of the folk definition of art. That definition includes an emphasis on beauty as typified in the tradition of some particular art, on the traditions and conserns of the art world itself as the source of value, on expression of someone's thoughts and feelings, and on the relative freedom of artists from outside interference with the work ".

Blangkon principally made of cloth iket Udeng rectangular or square. The size is approximately 105 cm wide x 105 cm. Used actually only half cloth. Size blangkon taken of the distance between the latitude of the right ear and left through the forehead and through the top. In general, the smallest numbered 48 and 59 at most. Blangkon consists of several types, namely: Using mondholan, the bulge on the back blangkon shaped like Onde-onde. Blangkon is referred to as blangkon Yogyakarta style. This bulge haircut signifies the time that men often tie their long hair at the back of the head, so that part is sticking out at the back blangkon. Coil should be tight so that the hair is not easily separated.

Indonesian Batik is a unique technique

Indonesian Batik is a unique fabric made with a unique way as well. The technique used is a wax-resist dyeing. The type and style of traditional batik quite so much, but the patterns and variations in accordance with the philosophy and culture of each region are very diverse.

Cultural influences such a rich nation Indonesia has prompted the birth of various styles and types of batik tradisioanal characterized by its own specialty.
White fabric used is the result of homespun. Coloring materials are being used consists of plants native to Indonesia handmade among others of: noni tree, Soga, indigo, and materials made from soda ash soda, and salt is made of mud.
  

Craft of batik in Indonesia has been known since the days of the Majapahit kingdom and continued to grow until the next kingdom. Now, batik has become the traditional dress which is a work of art Indonesia.Batik Indonesian culture is admired the world, among the traditional varieties produced by immersion technology hurdles, none of which can be present as beautiful and as smooth as batik Indonesia.

other of Batik in Indonesia

Almost every region or province, even cities, in Indonesia has a batik crafts, and all have distinctive features and different motives. Kind Batik in Indonesia turned out to have so many kinds, there are about 2,500 batik motifs that have been officially registered, and many more kinds of traditional and contemporary batik others who have not entered the list. With the increasing number

 of designers working in the world of batik, the rapidly growing variety of motives and also the development of Indonesian batik. You can imagine how rich this culture of Indonesia. The existence of batik culture is also strengthened with the establishment of Yayasan Batik Indonesia.

In September 2009, through the Board of Trustees of Foundation of Indonesia Batik, Doddy Soepardi, announced that the party United Nations through UNESCO has officially confirmed that the Indonesian batik into the Representative List of Cultural Heritage Objects Not Human. Also 2500 range of batik motifs including those listed therein. It is expected in the future there will be no other country which claims that the batik of Indonesia as the country's cultural heritage.
When viewed from the ornaments, Kind of batik in Indonesia, many regions are derived from prehistoric times such as decorative geometric patterns and symbols. all kinds of batik can be seen from the motif is used. As with any culture, decoration on batikpun experiencing changes that are influenced by their environment.
The uniqueness of batik is not only limited to fashion alone, but extends to other usage, such as batik motif that is used for bags, backpacks, laptop bags, pillowcases, curtains, slippers, shoes, caps food, table cloths to accessories and other household items. This makes batik spur creativity and innovation.

Indonesia Batik selected for UNESCO cultural heritage


The United Nations Educational, Scientific and Cultural Organization (UNESCO) would add Indonesia's traditional dyeing technique to its intangible Cultural Heritage list, the Jakarta Post reported on Tuesday.

The listing, which will give the age-old batik tradition some degree of protection under the UNESCO charter, will be made official at an event in Abu Dhabi, the United Arab Emirates (UAE) between September 28 and October 2.
  

"Batik is regarded as a cultural icon with its own uniqueness. It contains symbols and deep philosophy of the human life cycle --and it was submitted by Indonesia as a non-material element of cultural heritage," Coordinating Minister for the People's Welfare Aburizal Bakrie told a press conference on Monday.

"We've been told that Batik has been recognized as an element of global cultural heritage produced by Indonesians. The president has called on all Indonesians to wear Batik on October 2 to celebrate Batik," the minister added.
    Batik is a wax-resistant dyeing technique used on textiles. Due to modern advances in textile industry, the technique is also used for fabric incorporating traditional batik patterns that are not necessarily produced using traditional batik techniques.