Book Description:
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 EDITION 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. Contents: Part I. Crafts, Culture and Technological Change: Quo Vadis Batik?; Aspects of intellectual property and textiles; Innovation, change and tradition in the Batik industry. Part II. Traditional Batik: Cultural values and traditional Batik patterns; Function and meaning of Batik lurik a reconstruction; The philosophy and meaning of classic Batik patterns of Central Java; Textiles in ancient Bali; The classical Batiks of Jambi; The development of motifs in Indonesian Batik fashion trends from 1850 onwards; The Garunda motif and cultural identity. Part III. Comparative Batik: Parang Rusak design in European art; Javanese and Indonesian Batik in Germany; Reflections on Moscow Batik; Batik as both art and craft; Malay (Perak) embroidery in contemporary Batik; The art of Batik in Sri Lanka; Persistence of traditional dress in Mesoamerica; Batik effect on pure woven wool; Batik on paper bi and tridimensional structures; Independent European Batik technique on Easter eggs. Part IV. Batik Conservation: Textile exhibition issues in Indonesian museums; Batik conservation in the Rotterdam museum of ethnology; The Batik collection at the Tropen museum. Part V. Virtual and Souvenir Batiks: Extraterrestrial inspiration a remarkable Batik from the textile museum collection; The challenge for Batik in the year 2020: art, commodity and technology; Lifestyles in the borderless world: marketing Sarawak textiles as cultural identity products; Batik route: Batik and tourism; The threads that tie textiles to tourism; Modern influences on East Sumbanese textiles; Tourism and Geringsing textiles in Bali: a case study from Tenganan; Endek and its role in tourism development in Bali; Textile production, tourism and the Internet the Austrian experience; The role of tartan in the development of the image of Scotland; Traditions, tourism, and textiles: creativity at the cutting edge; Conclusions.
|
