SANDY RISMANTOJO

Visual Communication DesignFaculty of Art and DesignUniversitas Kristen MaranathaBandung, Indonesia

Batik tiga negeri is Indonesian Adiwastra which was produced in three different ci�es which path can also be called the ba�k �ga negeri triangle route. The three ci�es are Lasem, Pekalongan and Solo/Yogyakarta

Ba�k was originally produced in Java, especially in the northern coast of Java and inland Java, especially in the areas of Surakarta and Yogyakarta. One famous Indonesian ba�k is ba�k �ga negeri. This name is already familiar to ba�k lovers, collectors, cultural observers, historians, and cultural figures.

Actually, at this moment it can be said that ba�k �ga negeri is on the verge of ex�nc�on, although it is considered that it can s�ll be found in Cirebon, Pekalongan, Batang, Lasem, and Solo.

Ba�k �ga negeri is included in the coastal ba�k group. This ba�k is also known as a ba�k created by Chinese peranakan ba�k makers in the northern coast of Java and Solo.

Ba�k �ga negeri is a type of ba�k that ini�ally underwent a coloring process in three ci�es. Red is dyed in Lasem, while blue is dyed in Pekalongan or Kudus, and finally, the brown color of soga from Solo or Yogyakarta, which finally perfects the appearance of this type of ba�k.

Adiwastra ba�k �ga negeri produced by Indonesian Chinese peranakan, is full with the meaning of accultura�on, mel�ng pot, and cultural diversity that forms the iden�ty of the Indonesian people. Chinese tradi�on in Lasem is represented by the red color of ge�h pi�k (chicken blood), Pekalongan is represented by the indigo blue color which is a characteris�c of Dutch ba�k, and the brown color of soga which is laden with Javanese philosophical meaning.

Then a touch of green as a representa�on of the color of Islam a�er three decades of the emergence of this ba�k in the late 19th century.

Pekalongan

Banyumas

Jepara

Ambarawa

Kaliwungu

Juwana

Surakarta

Lasem

Rembang

Yogyakarta

Tegal

Purwodadi

Blora

Sukoharjo

Semarang

Kudus

Demak

Pekalongan

Banyumas

Jepara

Ambarawa

Kaliwungu

Juwana

Surakarta

Lasem

Rembang

Yogyakarta

Tegal Blora

Semarang

Kudus

Demak

LasemIni�ally, the red color comes from the extract of mengkudu root (Morinda citrifolia). Lasem ba�k began in the 15th century. In the 1930s, Lasem had 120 Chinese entrepreneurs producing ba�k from three na�ons. Now, only eleven le�.

Pekalongan

Banyumas

Jepara

Ambarawa

Kaliwungu

Juwana

Surakarta

Lasem

Rembang

Yogyakarta

Tegal Blora

Semarang

Kudus

Demak

PEKALONGAN The city where the Dutch batik flourished which

began around the middle of the 19th century. The blue color comes from indigo. There is

evidence that batik from Lasem is colored blue in Pekalongan, but

Pekalongan batik has never been colored in Lasem. Initially, batik

workshops were run by Javanese, Chinese, Arabic and European entrepreneurs. In the 1930s, there were 60 batik tiga

negeri entrepreneurs from Chinese ethnic. Now, there are only two left: Liem Ping Wie and

Oey Soe Tjoen.Sukoharjo

Pekalongan

Banyumas

Jepara

Ambarawa

Kaliwungu

Juwana

Surakarta

Lasem

Rembang

Yogyakarta

Tegal

Purwodadi

Blora

Semarang

Kudus

Demak

SURAKARTA (SOLO)The brown color comes from soga wood. Initially, batik houses were run by Javanese, Chinese, Arabic and European entrepreneurs. The legend of batik tiga negeri Solo is Tjoa Giok Tjiam. The last generation is the "Nj. Tjoa Siang Swie ", which went bankrupt in 2014

The characteris�c of this ba�k is having a combina�on of coastal and inland pa�erns, such as the bouquet style, hong mo�fs, roses, tulips, peonies, bu�erflies, and animals (Chinese, Dutch and Javanese decora�ons) which are popular on the north coast of Java. Then in the late 1890s, ba�k �ga negeri was influenced by the Art Nouveau style.

These pa�erns are combined with larangan or forbidden pa�erns from the Surakarta or Yogyakarta Palace, such as parang rusak and kawung. There is an assump�on in the process of making this ba�k tradi�onally, this piece of fabric can travel more than 650 kilometers. Because of the uniqueness, beauty and manufacturing process that takes quite a long �me, ba�k �ga negeri at that �me was a premium merchandise that was quite expensive. This ba�k is a choice for Malay women, Chinese, Dutch, Arabs or local aristocrats.

Lasem stamped inkon the edge of fabric

Solo put a brand nameusually the name of theworkshop owner

Maranatha OngLasem

Pricilla RennyShe is the daugther

of Naomi Susilowa� Se�ono Naomi’s father inherited

Ong ba�k house to her, Ong Liang Dju, son of Ong Oen

Hwie, who inherited it from Ong Jok Thai, who lived in

1800s. This family business is located at Jalan

Karangturi I/1 Lasem, Rembang, Jawa Tengah.

Oey Soe TjoenPekalongan

Widianti WidjajaOey Kim Lian

She is the granddaugtherof the Oey Soe Tjoen owner.

Third genera�on.Oey Soe Tjoen started their

business in 1925

Oey Soe Tjoen was a good friendof Eliza Van Zuylena Dutch ba�kworkshop owner. Oey Soe Tjoen

then was influenced byDutch ba�k design.

Buketan, Dutch influence

BatikTiga

NegeriSolo

This is an example ba�k �ganegeri from Solo. Dominated

with green color.The color of Islam.

Based on oral stories it is statedthat the ba�k �ga negeri

originated from the Tjoa Giok Tjiam family in Solo who started

produc�on in 1910 and finally stopped their produc�on in

2014.

Only floral pa�erns present.No animal or living creature images

The message implicit in this piece of fine ba�k is very clear which is about tolerance and diversity. The kind of style depicts the hope of goodness, beauty of detail, and the mul�cultural richness of Indonesia. From beginning to end, this ba�k gets a touch of various cultures.

Ba�k �ga negeri is an ar�fact that proves that the crea�ve industry has long been growing and developing in Indonesia. Because it is produced in three different crea�ve ci�es, it cannot be denied that the crea�vity in each city will influence and enrich the techniques, mo�ves and meanings contained in a piece of ba�k �ga negeri. .

The revival of ba�k in Indonesia occurred towards the end of the 2000s, beginning with claims from Malaysia who wanted to declare Ba�k as their cultural heritage through UNESCO. This incident aroused anger, fostered a sense of na�onalism and also the pride of the Indonesian people who were fully aware that ba�k belonged to Indonesia but unconsciously considered unimportant.

In the end, Indonesia succeeded in gaining recogni�on that ba�k is a non-material cultural heritage of Indonesia that was recognized by UNESCO in October 2nd, 2009.

Therefore, we should also thank Malaysia for indirectly reminding us to appreciate and maintain the survival of Indonesian ba�k.

One of the crea�ve industries that has long been developing and surviving in Indonesia is the ba�k industry. This industry has proven its existence because it has long survived, through ups and downs and experienced the golden era that began in 1860 un�l the fall in the era of the 1970s and during ecomonic crisis in 1998, which then in the 2000s rose again.

Currently the ba�k industry is developing again, but if it is not supported by the government, ba�k cra�smen, and also by the young genera�on, the possibility of the fall of the ba�k industry will be repeated and we must prevent it happening again.

The defini�on of crea�ve industries in Indonesia in the Na�onal Crea�ve Economy Development Blueprint 2009-2015 (2008) is:

“Industry that comes from the use of crea�vity, skills and individual talents to create prosperity and employment through the crea�on and u�liza�on of crea�ve power and crea�vity of these individuals."

It can be concluded that the Crea�ve Economy in rela�on to the Crea�ve Industry is an economic ac�vity that includes industries with crea�ve human resources as the main assets to create economic added value (Indonesian Crea�ve Economy Agency, 2017).

Crea�ve Industries need to be developed in Indonesia because (Nugroho and Cahyadin, 2010):

1. make a significant economic contribu�on2. Crea�ng a posi�ve business climate3. building the na�on's image and iden�ty4. based on renewable resources5. crea�ng innova�on and crea�vity which is a compe��ve advantage of a na�on6. provide a posi�ve social impact

In the era of industrial technology 4.0 now also has a posi�ve impact on the ba�k industry.

1. Ba�k industry players have been able to u�lize social media to expand marke�ng areas and u�lize cloud technology to centrally store data digitally, for example ba�k mo�fs in digital form, so that they can be stored safely and easily for distribu�on.

2. The social media that are widely used by ba�k industry players are Instagram, Facebook, blogs, and also websites.

3.With the increasing number of ba�k industry or MSMEs involved in the digital economy, MSMEs can grow faster, and become innova�ve and more compe��ve (Setyanto et al, 2015).

4. By u�lizing social media, Instagram, Facebook, Website, the ba�k industry players can market their products more easily, quickly and efficiently.

Almost everyone uses smartphones, so they can easily access social media and are always connected to the internet. This causes the products can be seen by everyone in the world so that it can increase income and strengthen the image that ba�k is truly a major part of Indonesian culture.

Lasem PasiranLasem Lerek Kawung

designed by Intan Tri Raharjo

Parang Sekar Es TehTiga Negeri

designed by Sandy Rismantojodesigned by Wenny Anggraeni

designed by Wenny Anggraenibag designed by Edward Hutabarat

This ba�k �ga negeri is considered to be on the verge of ex�nc�on due to many of ba�k workshop who have gone out of business, or are rarely produced because of the long and �me-consuming process and cost. But fortunately in Lasem, the ba�k industry players s�ll have a commitment to produce ba�k tulis and maintain the technique of making and coloring ba�k �ga negeri. The government should pay more a�en�on to these three crea�ve economy ci�es in order to be sustainable. Because it can be said that ba�k �ga negeri is an adiwastra which symbolizes Indonesia's mul�cultural wealth, full with meaning of tolerance, trust , k inship, civiliza�on and friendship.

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Anonim. (2014). Pekalongan Raih Predikat Kota Krea�f Dunia dari UNESCO. h�ps://pekalongankota.go.id/berita/pekalongan-raih-predikat-kota- krea�f-dunia-dari- unesco

Crea�ve Na�on: Commonwealth cultural policy, October 1994 apo.org.au/node/29704

Malagina, Agni. (2018). Adiwastra Tiga Negeri. Na�onal Geographic Indonesia

Nugroho, P. S., Cahyadin, M., Perindustrian,

D., Kebudayaan, D., & Pariwisata, D. K. (2010). Analisis Perkembangan Industri Krea�f Di Indonesia. Semarang: FE UNS.

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Setyan�, C.A. (2015). Alasan Pekalongan Dipilih Jadi Kota Krea�f UNESCO. from:h�ps://www.cnnindonesia.com/gaya-hidup/20150601110604-277- 56910/alasan- pekalongan-dipilih-jadi-kota-krea�f-unesco

Setyanto, A. R., Samodra, B. R., & Pratama, Y. P. (2015). Kajian Strategi Pemberdayaan UMKM Dalam Menghadapi Perdagangan Bebas Kawasan Asean (Studi Kasus Kampung Ba�k Laweyan). ETIKONOMI, 14(2).

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h�ps://karinaisna.wordpress.com/2018/01/06/demi-kejayaan-ba�k-lasem/ diunduh 23 November 2019, pukul 19.20 WIB

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