A Review on the Malaysian and Indonesian Batik Production, Challenges, and Innovations in the 21st Century

Abstract

Malaysia and Indonesia are well known as prolific producers of batik in Southeast Asia. The history of batik in both countries is deeply intertwined for more than a century. Most available published works related to batik production, challenges, and innovations were discussed within the local batik context of each country. This study aims to identify collectively how far batik, as a creative industry in these countries has progressed since its establishment until the present 21st century. It was notable that batik craftsmanships have been mostly maintained as similar tools and techniques are persistently being used until today in both countries. Significant progress was observed in the design and stylization of the batik design with the use of digital approaches such as fractal geometry. Similar challenging problems faced by both nations were highlighted and clustered into internal and external issues. It was concluded that assimilations of Third Industrial Revolution technology (IR3.0) primarily centered on the use of computer-aided design and computer-aided manufacturing to improve existing batik production. Emerging studies have shown the positive impact of integrating Fourth Industrial Revolution (IR4.0) technology such as augmented reality (AR) in promoting batik knowledge and transmitting batik as an intangible cultural heritage. The transmission of batik skills to the young generation has been a persistent problem. Thus, a brief framework was proposed to exemplify how IR4.0 technology can innovatively be used to transmit the batik skills via education platform.

Socio-Cultural Challenges of Small and Medium-Scale Batik and Tie-Dye Industry in Ghana

“…According to Shaharuddin et al [3], the term batik was believed to have been coined from these Javanese words; ambatik or tritik. The suffix tik in each word translates to "creating little dots".…”

“…Batik is originally developed by women to be a craft that contains philosophy, character and value of art [2]. Both men and women wear batik and tie-dye garments made of colourful patterns that portray the cultural heritage and vary by locale and occasion across the Sub-region [3].…”

Institutional Barriers and Facilitators of Sustainability for Indonesian Batik SMEs: A Policy Agenda

“…Batik can be defined as a piece of art applied onto fabric using hot wax by creating little dots [9]. Batik is well-known for its cultural value and heritage function, representing the national identity of Indonesia [10].…”

“…It is mostly hand-crafted by women crafters [11, (see Figure 1). Since the industry is dominated by women, feminine qualities (e.g., caring for oth and the environment, including other people's ideas and backgrounds in the busine taking care of kinship relations, and bearing in mind the prospects of the families involv in their enterprises) are often associated with the entrepreneurs in the industry [13,1 Batik crafters are primarily home-based, and the production often involves collaborat among micro-, small-, and medium-sized enterprises (MSMEs) [9]. Approximat 212,000 Indonesians earn a living from making batik through inherited skills [15], a most live in rural areas.…”

“…Approximately 212,000 Indonesians earn a living from making batik through inherited skills [15], and most live in rural areas. According to data provided by the Indonesian Ministry of Industry and Trade, there are approximately 50,000 batik enterprises in Indonesia, mostly concentrated in central Java in cities such as Cirebon, Yogyakarta, Pekalongan, and Surakarta [9]. Due to its unique characteristics, Indonesian batik is considered part of the World's Intangible Cultural Heritage of Humanity [10].…”