ABSTRACT

The word ’batik’ is possibly of Malay origin from the word ’tik’ meaning ’to drip’ or ’to drop.’ The term is applied to a resist dye technique invented independently in locations as diverse as Ancient Egypt, Japan and Turkestan. Batik is a remarkably flexible textile technique and is suited to small-scale methods of production, but demand from the fashion and tourism industries is increasing. This volume brings together the experiences and concerns of the international community of batik producers. It gives voice to their suggestions for ensuring that the producers of this traditional craft are integrated into its increasingly global production rather than excluded from it. Building on the work of batik designers and producers the book discusses the emergence of a global craft consciousness. Batik producers report on innovative measures taken both individually and collectively to hold their market position while commercial producers frequently annex and mass-produce traditional batik design. The book concludes with a discussion of marketing and production innovations and tourism which enable the producers of batik to maintain the integrity of their designs whilst harnessing the benefits of new commercial forms.

part |2 pages

PART 1: CRAFTS, CULTURE AND TECHNOLOGICAL CHANGE

chapter 1|7 pages

Quo Vadis Batik?

part |2 pages

PART 2: TRADITIONAL BATIK

part |2 pages

PART 3: COMPARATIVE BATIK

chapter 11|9 pages

Parang Rusak Design in European Art

chapter 12|9 pages

Javanese and Indonesian Batik in Germany

chapter 13|11 pages

Reflections on Moscow Batik

chapter 14|7 pages

Batik as Both Art and Craft

chapter 16|3 pages

The Art of Batik in Sri Lanka

chapter 18|8 pages

Batik Effect on Pure Woven Wool

part |2 pages

PART 4: BATIK CONSERVATION

part |2 pages

PART 5: VIRTUAL AND SOUVENIR BATIKS

chapter 27|6 pages

Batik Route: Batik and Tourism

chapter 28|14 pages

The Threads That Tie Textiles to Tourism

chapter 29|10 pages

Modern Influences on East Sumbanese Textiles