Batik as an Indonesian Cultural Heritage

Written By Culture on Thursday, December 8, 2011 | 8:54 PM

Batik Indonesian Cultural  .
A. Origin of Batik
Heritage (heritage) of the ancestors of Indonesia to the generation now are many different forms, types, and forms (rupa). Some of them are the temples; traditional weapons such as bayonets, a dagger, and spear; Pinisi ships; puppets, and batik. The legacy of ancestors were not all well preserved in the present on the one hand, but on the other hand, there's far more vigorous efforts from governments, private sectors, and the people of Indonesia to preserve all these relics. One effort that heritage conservation is batik.

Batik Indonesia since the first until now has been known by the people, both from within and outside the country. Central areas of the famous batik in Indonesia, among others Yogyakarta, Solo, Semarang (Joglosemar). In addition to these three regions also known as a place Pekalongan batik craftsmen.

The word batik is said to have originated from the word 'tick'. This word means the point. Why batik has to do with the point? This is because in the process of making batik through hatching stages of wax into a white cloth to be used as a batik later. When the hatching process is then drip wax would sound tick-tick-tick so that eventually the term was born the word batik. On the other hand, there are those who argue that the word batik originated in ancient written sources associated with writing, or painting. Both this opinion is still used to explain the origin of the word batik, and it is actually not a fundamental problem in the development of batik in the present and future.

Inheritance means that all the relics of the past / past that now form, type, and form (rupa) is still there, and is used by the current generation. In particular, inherited the title of this paper refers to the batik heritage of previous generations to the present era.

Culture can be defined as all the results of creativity, taste, and human intention (Koentjaraningrat). Based on this opinion, batik is one of the results of creativity, taste, and the initiative undertaken by the Indonesian people, both from the past to the present, in addition to other results in the form of the buildings of ancient temples, traditional weapons, and Pancasila (the fruit Bung Karno mind that originating on the values ​​of the previous wisdom of the Indonesian people).

Indonesian word used to describe the concept of a region in Southeast Asia zone inhabited by people from the island of Sabang to Merauke, where he is a great place consisting of land approximately 2 million square kilometers, and the ocean area of ​​approximately 3 million square kilometers. If associated with the word batik then he is one of the work of the tribes who inhabit Indonesia, the Javanese.

B. Problems
This article tries to explain the problems that arise in connection with efforts to preserve batik as an Indonesian cultural heritage. The problem is, focused on the question: first, how we can further develop and loved batik products in Indonesia present and future generations, and second, our joint efforts to preserve Indonesian batik.

C. Alternative Solutions to Problems
In connection with attempts to answer both the above problems, the authors propose some alternative solutions, namely:

In terms of education
The author recommends to the government through the Ministry of Education to require matapelajaran batik to students in secondary vocational senior high school level in areas of major centers of batik artisans, namely Yogyakarta, Solo and Semarang (Joglosemar), and Pekalongan. The benefits of this activity include vocational high school students directly involved in the manufacturing process until finally did become the final product (batik), as well as a process of batik conservation plantings on younger generations (SLTA) Indonesia. In addition, another advantage obtained by the students is that they can add an allowance to pay for their education, or to meet their other needs. In order for the results of batik products made by the students to be good and commercial value, the local Ministry of Education to recruit local teachers who have high expertise in batik, for example, local batik (informal sector) on one side. On the other hand, for formal teachers, this can be obtained from the minimum level D3 graduates who studied arts and crafts at the university level. Long-term impact of the activity of this is in addition to continuity maintained continuity of batik production, he also became one of the sectors producing skilled manpower (batik) for vocational senior high school students. The expectation after the students graduate, for those who can not afford to continue to university level, they can become skilled batik without having them undergo education and higher skills.

If related to business development, and preservation pencintaan batik on younger generations present and future, this activity is wearing on them. The reason is that they have been involved in the production process until the final product in the form of batik cloth. Activity is certainly very deep impression to them because they undergo a process between theory and practice go together. Similar to these activities, for example, to the territory of North Sumatra, the local Ministry of Education can apply the same concept to production Ulos fabric, which is one of the typical cloth made by the Batak tribe. For other regions in Indonesia, the concept can also be applied to vocational high school students.

From an economic point
After a process of production, then the elements of marketing plays an important role in efforts to sell batik products to consumers. According to the authors, we need to create a slogan (tagline) that makes the consumer (from young to old) to always remember and more interested in using batik. The slogan was, for example, "Batik is Indonesia." Selected in English because she is the language most used by people all over the world, and the Indonesian people themselves were easy to understand outline of this slogan.

The idea of ​​making this slogan inspired by Coca-Cola company's successful campaign for its products worldwide through the slogan: Always Coca-Cola. The slogan is short, but he has a strong effect on the minds of consumers. The same is also expected to materialize through the slogan: "Batik is Indonesia." In addition to this slogan to gain the sympathy of consumers as possible, he also reminded everyone both domestically and abroad. For people in the country (Indonesia), the slogan is to give effect to make us know and much loved homemade products, while for people overseas, they would know that batik comes from Indonesia (Java tribes, in particular), and not from other countries which claims itself as the creator of batik. The last reason is becoming very important because in the era of globalization present and future, the origin of the product problem is important because he was concerned the issue of Intellectual Property Rights (IPR). Of course, we do not want our nation's original work is recognized through the patent by another country. Therefore, we must pursue a program of good, concise, simple, inexpensive and scalable cost certainty (transparent) and faster in making batik on the Director General of the patent IPR. Unfortunately until now, we quite often hear that the cost for administering the patent is not cheap, so it's burdensome, especially complainants patents are mostly SME entrepreneurs like batik artisans. Therefore, the authors proposed that the Director General of Intellectual Property Rights can make a breakthrough step in connection with this problem. Breakthrough, for example, created a mechanism pengangsuran (credit) from the Director General of Intellectual Property Rights for the complainants patent batik products, so that it would give the impression as if the cost of a product patent (batik) become cheaper.

In addition to exposure to the above, marketing is also closely linked to production and the target users (consumers) of a product. When sorted, batik products that can be classified for low-income consumers, intermediate, and high. Therefore, all efforts to the production, development, pencintaan, and preservation of batik products must be done by targeting consumers in all three groups TSB.

For the first group and second, it could be the largest consumers are young children who do not have their own income, but they are very concerned about the display color, model, and the selling price. Therefore, to consumers in both these categories, the resulting product must give attention to elements of the model, color, and the selling price. According to the authors, in the real world, steps taken Danar Hadi Batik, for example, is already pretty good. Said to be quite good, because this company sells its products to target low-income consumers, intermediate, and high where each of the three groups of batik products to consumers is of good quality. The indicators include color batik products are not quick to fade / fade, following the trend of young people are dynamic, in which the group wanted the bright colors and pieces / model of a fresh batik / attractive, and affordable prices (competitive). Especially for high-income consumers, this group generally want a hand batik product that is not produced massively. Marketing strategies that can be done for these consumers are keeping their belief that high quality to any produced by batik batik (the company that sought in the field of batik). In addition, to obtain more broadly to consumers in this segment, the company can do batik exhibitions or workshops at home and abroad.

For the market share of low-and middle-income consumers, the marketing strategies that can be done, for example, is selling batik through the distros, through a cooperative student (Kopma), school cooperatives, traditional markets and modern markets with respect to elements model, the colors are bright and bold, as well as competitive prices, and accompanied by good quality batik.

From an environmental point
In the era of present and future, environmental issues become crucial. What is the relation between the environment with batik? The writer considers the relationship between the two closely.

In the process of batik, he sometimes require certain colors to mix chemicals to produce the final product (batik). During the process of batik, the factor of the materials used in batik-like colors, materials must be safe for humans, and not harm the environment. For the latter, we must ensure that waste management system friendly environment for companies of medium and large scale batik. As for small-scale enterprises, education to employers or batik about the ingredients that are safe to be produced in the manufacture of batik needs to be done. It would be better, if they are still using natural ingredients in batik and so the risk of environmental contamination becomes smaller. If we can run very well all these processes, we gain the benefits from it like berkesinambungannya batik production process safe for the environment, and raise the image of Indonesian batik in the presence of people overseas. The last reason is because in general the foreigners (mainly from Europe), they are very concerned about a product resulting from the process of safe / friendly to the environment. Based on both these reasons, we must take care to realize the Indonesian batik products are safe for the environment (batik is a green product).

Based on previous stretch of exposure, both the problems that exist in the writings of authors have been responsible. In short, an alternative solution to both problems, it has been discussed in terms of educational, economic, and environmental. The author believes that if these three aspects or elements above and steady performed simultaneously by all of us, then our efforts to be more loving, developing, and preserving batik as an Indonesian cultural heritage will be successful in the country, and he also will have a positive impact on the image of batik Indonesia in the eyes of the non-Indonesia (foreign), in both the short and long term.thats all Batik  Indonesian Cultural Heritage .
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