Cultural Sustainability: A Case Study of the Dying Art on Batik

Block in Malaysia

Faradiba Liana Naser and Hanif Khairi

Faculty of Art & Design, Universiti Teknologi MARA, Shah Alam, Selangor, Malaysia

Keywords: Cultural Sustainability, Batik Block.

Abstract: Traditional batik block in Malaysia is the country’s heritage and treasure. However, it has slowly faded

nearing extinction, particularly in the east coast region of Malaysia. The uniqueness of a batik block is very

much relies on its pattern that is championed by a master craftsman called the master block maker. Currently,

not many master block makers are left in Malaysia with only few remaining in the east coast. This finding

raised the question of batik block being considered as a dying art which needs cultural awareness and

recognition. A qualitative study was conducted to identify the dying art of block making in Malaysia. In -

depth interviews was conducted with two block making experts in the state of Kelantan and Terengganu. The

transcribed data of the interview sessions were then analysed using thematic analysis, and it was found that

there are four major themes involved in the issue of the craft’s dying art which are: consistent, human factors,

batik community and initiatives. These factors plays major role in the conservation of the art of batik block

in Malaysia. From the findings, it is hope that the art of block making will continue to flourish thus enhancing

the appreciation and sustaining the valuable traditional culture of Malaysia.

1 INTRODUCTION

In interpreting the meaning of cultural sustainability,

it is crucial to define the meaning of the word culture

and sustainability. As for the sustainability, there are

many different definitions, but the most frequently

cited comes from the World Council on Economic

Development, which advocates operating in ways that

meet the needs of the present without compromising

the ability of future generations to meet their own

needs (Bertels, S., Papania, L., and Papania, D.,

2010). Systematically, Becky. J., Brown. M.E., &

Hanson. D.M., et al., (1987) describes that the

meaning of sustainability is strongly dependent on the

context in which it is applied and on whether its use

is based on a social, economic, or ecological

perspective. Becky. J., Brown. M.E., & Hanson.

D.M., et al., further explains that sustainability may

be defined broadly or narrowly, but a useful definition

must specify explicitly the context as well as the

temporal and spatial scales being considered. Setting

the priorities for sustaining or being sustained, and at

what costs, is a value-laden process that can only be

accomplished within the context of a clearly stated

definition of sustainability. Deciding what actions

and policies should be taken to achieve sustainability

can only be accomplished with appropriate measures

and indicators of sustainability.

In describing batik as a Malaysian cultural icon,

Stephen T.F. (2015) in his research about the

interrelation of history and character of societies,

found out that ancient cultures reflect the diversity of

experiences of their communities through arts and

crafts. He described that while traditional arts and

crafts disclose a composite of historical events and

their surroundings, some of it bears spiritual

significance which can be found in the craft of batik.

He further explained that in anthropology and

sociology, batik’s role as an art form is often

discussed and viewed through its variable patterns,

shapes and design elements.

At present, the Malaysian batik, although

considered as a traditional Malay craft, is less than a

century old. Its aesthetics defines and characterizes

the heritage of the Malays, seen through motifs which

blend the Malay sultanate culture, community values,

imagination and creativity in interpreting their

surrounding environment meaningfully. In a modern

context, Malaysia’s batik design heritage is premised

on its dynamic sociocultural capacities to serve

markets and demands. Definitely, cultural

sustainability as it relates to sustainable development

Naser, F. and Khairi, H.

Cultural Sustainability: A Case Study of the Dying Ar t on Batik Block in Malaysia.

DOI: 10.5220/0008545800780081

In Proceedings of the 1st International Conference on Interdisciplinary Arts and Humanities (ICONARTIES 2019), pages 78-81

ISBN: 978-989-758-450-3

(to sustainability), has to do with the maintaining of

cultural beliefs, cultural practices, heritage

conservation, culture as its own entity, and attempts

to answer the question of whether or not any given

cultures will exist in the context of the future (Soini,

K. & Birkland, I. 2014). In addition, Kamarudin

(2013) describes that cultural sustainability is one of

the major pillars in creating a sustainable community

as well as with three most known pillars which are

economy, social and environment.

The stamped batik is considerably used by most

people for its low cost compared with the hand drawn

batik. The quality of the stamped batik or block batik

primarily depends on the quality of the batik stamp.

Batik stamp is a handy craft work fully done by hands

of the batik expert. Traditionally batik stamp is made

of copper plate form with the measuring 0.25mm in

thickness and 20mm in width to form patterns. The

craftsmen are now limited and most of them are old

men, but they have high capability to draw the

patterns by hand before making it as batik stamp

(Suryanto et al. 2016). Technically, block batik or

batik cap is a batik method in which designs are

applied in wax with stamps or ‘chaps’ as they are

pronounced. Elphick, M. (2014) a researcher of batik

products described that the batik stamps are usually

made of copper or brass for its heat conductive

properties and used to ‘print’ hot wax on to cotton.

She further stated that producing batik stamp is still a

labour intensive process requiring patience and skill.

According to Mohamed Awang (2008, December

10), batik craft should be ceaselessly sustained in

order to safeguard the Malay identity from being

caught in the rapid current of globalization and from

the dangers of the virtual world. In addressing the

significance of innovation in the Batik industry,

Mohamed Awang emphasizes that the Batik artisans

need to evolve from conventional and traditional

design into a more contemporary design that could be

commercialized overseas.

Mohamed Awang further describes that the

Malaysian identity needs to be conserved even though

the design has been stylized and changed. In the

1930s, the use of wax in printing batik was introduced

by batik makers in the east coast. Regularly blocks

were made from steel or metal to produce more

refined and neater batik. Surprisingly the block

technique was slowly set aside in favour of the hand-

drawn batik and batik stencil technique, which is an

easier and faster method of creating batik. The result

from this situation is that there are only few block

makers or craftsmen left in Kelantan and Terengganu,

and at the same time, the interest among youth to

inherit the skill of block making is deteriorating.

Therefore, crucial efforts need to be done to sustain

the cultural heritage of block making as well as to

enliven the Malaysian batik industry. For these

reasons, the researchers strongly believe that culture

is the key element in developing people’s

relationships and attitudes for all tangible and

intangible to enhance our cultural identity in ways to

improve our lives and live in a viable inheritance.

From this paper, we tackle the cultural sustainability

in the dying art of batik stamp by interviewing the two

batik block maker experts.

2 METHODOLOGY

This research employed the qualitative approach with

the selected method like library research, fieldwork

and interviews. Preliminary interviews of face-to-

face were completed. To meet the objective of this

research, two sets of interviews were conducted with

the batik block experts; Abdul Ghani Mat 62, who is

recognized by the Malaysian Handicraft Corporation

as an Adiguru (Master craftsmen) from the east coast

of Peninsular Malaysia (Kelantan) and the other one

from Kuala Terengganu, Zakaria Ismail, age 60. This

is also proof that geographical location has the

driving force that shapes culture and ability to

produce batik stamp until now as all the block makers

are from the east coast region (Kelantan and

Terengganu). Both of them have more than forty

years of expert experience in block making and they

are the last block makers who are still active. The way

of life in the east coast area is full of cultural heritage

and this environment should be sustained.

The information focuses on the cultural

sustainability on batik stamp, young generations, and

perceptions toward batik blocks. The interviews

conducted were to answer the following main

questions: a. What is your opinion in the decrease of

Malaysian block makers? b. What is the factor for the

absence of understudies to inherit the art of batik

stamp? c. Should there be any reforms to upgrade

Malaysia's batik stamp? d. Why do we need to

preserve the art of batik stamp?

The answers of the interviews were analysed and

summarized as follows: Transcription process,

Translation, Thematic Analysis, Findings and

Reportin.

Cultural Sustainability: A Case Study of the Dying Art on Batik Block in Malaysia

3 RESULTS AND DISCUSSION

The responses from the interviews can be divided into

several parts based on the interview questions. The

answers of the interviews were analyzed and

summarized as follows:

Attitude: ‘Extinct, not extinct but as good as

dead. Without new understudies, there will be none.’

‘For a batik block maker, it is necessary to use skills

and creativity for block designs’. From the interview

sessions made with the block makers, they argue that

the batik stamps in Malaysia are becoming

increasingly coming to an end and likely to disappear

like other heritage treasures, due to the lack of

exposure to the younger generation on batik. Attitude

on the importance of art legacy is seen to be a major

factor for the lack of appreciation and if the situation

is left unattended, the heritage of the people's identity

in the country will be wasted. Many, especially young

people have no interest in batik clothing and this

circumstance is seen as a result of the development

and rapidity of the diversity of modern clothing and

fashion sense. At present most young people do not

know the legacy in our country, especially about batik

blocks.

Government: ‘The government did not put

emphasis in promoting for successors. The

government is indifferent. They have started to take

on but contradictory’. According to this statement the

Ministry of Public and Private Industries should play

a role to continue to develop and intensify efforts in

terms of promotion, so that batik blocks are not only

used by batik entrepreneurs but also as a reference

material. The block makers are of the opinion that by

emulating the neighbouring countries in defending

their culture, the batik heritage and the block makers

will always be well preserved. “Batik Indonesia is

superior to us because they are skilful at promoting

their art and product. We, in this scenario are lagging

behind. For instance, in Malaysia, we do not have

batik school uniform, unlike Indonesia. My stepson is

an Indonesian. They are to wear their batik inform on

every Monday and Wednesday. The whole of

Indonesia has to wear batik. In Malaysia, batik

uniforms are worn by boarding school students; even

so only on Thursday prior to weekend.” The

government should take on this method if we are to

preserve our batik. If there is no effort, then the batik

maker will disappear and no one will know of their

existence.

Innovation: ‘Batik now needs to be renewed.

There should be new style. There should be change.

Block makers and batik making cannot be separated.

Someone who wants to make batik has to make a

block first. The block maker should be referred to in

order to create a design.’ Modernization should be

made on batik stamps so as to nurture interest in new

groups, to place it in line with current modern trends.

Most block operators especially the block owners do

not want to change, they prefer to adopt old

techniques and techniques in the manufacture of

blocks. It is obvious and evident on how our

neighbouring country is very much aware in ensuring

the preserved of their batik heritage compared to

Malaysia's batik.

Awareness: ‘Art, in any form is fine and delicate.

Anything artful and fine has to be preserved.

Stamping blocks has existed since the 50s. Therefore,

we need to have successors to ensure the art and

craftsmanship lives on. I hope we will be able to

produce successors and in batik, there has to be new

development’. The production of batik in Malaysia

should be significant. The support and appreciation of

the various parties should necessarily exist within the

community, especially among local batik producers.

As a country with Malay culture and strong

understanding of batik, the batik art and culture

should be enhanced in the local community through

education at primary, secondary and tertiary level to

give awareness on the batik handicraft. To attract

interest towards block making, it is suggested that

exposure is made through art education available in

schools. The involvement of young people in

traditional art activities such as the making of batik

stamping blocks will magnetize the younger

generation in appreciating the art form of batik

blocks.

4 CONCLUSIONS

Based on the findings, it is concluded that the four

aspects of response by the block makers during the

interview session is consider a vital information to

cater the issue of dying art batik block making.

Attitude, government, innovation and awareness need

to be considered seriously as these are the key

elements in sustaining the culture. To cater the issue

of attitude, the Malaysian need appreciate and values

their own heritage and consider those culture as their

pride and identity. Government have to play their role

in preserving the culture by promoting and creating

awareness to the younger generations as well as to the

tourist that flocked to the beautiful east coast region.

Innovation is one of the major contribution in

sustaining the culture and heritage. By doing some

interesting innovation on batik stamp, the industry

will be booming as innovation could create

ICONARTIES 2019 - 1st International Conference on Interdisciplinary Arts and Humanities

stimulating experiences in stamped batik making

using innovative batik stamp. All these efforts would

not be realized except with the awareness of the

Malaysian society on the importance of their own

culture and heritage including in the industry of

traditional batik making. It need to be nurtured among

all sort of generations in Malaysia especially among

the millennials. Problems in the batik industry need

to be addressed immediately in an effort to uphold the

country’s batik industry. If the number of batik block

makers continue to decrease, soon, Malaysia will lose

its most treasured asset in the name of development

and modernization. This legacy is an important

product to attract foreign tourists especially those

interested in culture and the arts to visit our country,

Malaysia. The critical downside to losing the batik

will result in the future younger generation not

knowing the legacy of our homeland.

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Cultural Sustainability: A Case Study of the Dying Art on Batik Block in Malaysia