The Existence of Traditional Madurese Batik Patterns in the Exposure of Time and Technology
DOI:
https://doi.org/10.22219/satwika.v8i1.31829Keywords:
Batik Patterns, Traditional Batik, Modern Batik, and Printed BatikAbstract
Batik is generally inspired by cultural elements and philosophies of life. Madura Batik as part of Indonesian Batik continues to maintain its existence from generation to generation. However, the influence of developments over time and technological innovation has brought new things to Madurese Batik. On the one hand, batik is increasingly popular in society, but on the other hand, concerns arise regarding the originality of batik patterns. This phenomenon is thought to have an impact on the existence of traditional batik patterns that have existed for hundreds of years in the archipelago. Batik is interesting to study as a cultural entity that is expected to maintain ancestral rules in the process of making it. Even though there are many articles about batik, there are still few discussions about batik patterns. So, this article has urgency in enriching literacy about batik patterns. In this article, data was obtained through observation, literature articles, and interviews with batik makers, then conclusions were drawn based on data analysis. The result is the emergence of modern batik patterns because of market demand. This impacts the existence of traditional Madurese Batik patterns which are increasingly being displaced by contemporary batik patterns. Another fact is the existence of printed batik which has an impact on the existence of traditional batik houses. Traditional batik patterns will become increasingly rare and will be forgotten or even lost.
Batik secara umum terinspirasi dari unsur budaya dan filosofi kehidupan. Batik Madura sebagai bagian dari Batik Nusantara terus dijaga keberadaannya turun-temurun lintas generasi. Namun, pengaruh perkembangan zaman dan inovasi teknologi menghadirkan hal-hal baru di batik Madura. Dalam satu sisi batik semakin populer di masyarakat, namun di sisi lain muncul keprihatinan terkait orisinalitas corak batik. Fenomena tersebut dianggap berimbas pada eksistensi corak batik tradisional yang telah ada sejak ratusan tahun di nusantara. Batik menarik untuk dikaji sebagai entitas budaya yang diharapkan mempertahankan tata aturan leluhur dalam proses pembuatannya. Meskipun telah banyak artikel tentang batik, namun masih sedikit membahas tentang corak batik. Sehingga artikel ini memiliki urgensi dalam memperkaya literasi tentang corak batik. Dalam artikel ini data diperoleh melalui observasi, artikel literatur, dan wawancara dengan pembatik, kemudian diambil kesimpulan berdasar analisis data. Hasilnya adalah munculnya corak batik modern sebagai imbas permintaan pasar. Sehingga berdampak pada eksistensi corak tradisional Batik Madura yang semakin tergeser corak batik komtemporer. Fakta lain adalah Keberadaan batik printing yang berdampak pada eksistensi rumah batik tradisional. Corak batik tradisional akan semakin jarang dibuat sehingga terlupakan atau bahkan hilang.
Downloads
References
Al-Qurtuby, S. (2009). The Tao of Islam: Ceng Ho and the Legacy of Chinese Muslims in Pre-Modern Java. Studia Islamika, 16(1), 51–78. https://doi.org/10.15408/sdi.v16i1.489
Alwiyah, Steelyana, E., Sayyida, & Tahir, I. (2020). The survival of batik Madura in digital era: A case study of small medium enterprises (SME) at batik Madura center. Pertanika Journal of Social Sciences and Humanities, 28(1), 43–57. https://www.scopus.com/record/display.uri?eid=2-s2.0-85090846054&origin=resultslist
Amrullah, A. (2015). ISLAM DI MADURA. Islamuna: Jurnal Studi Islam, 2(1), 56. https://doi.org/10.19105/islamuna.v2i1.654
Aries, M. (2022, October 22). Memperingati Hari Batik dan Sejarahnya di Tengah Duka. https://kakibukit.republika.co.id/posts/180875/memperingati-hari-batik-dan-sejarahnya-di-tengah-duka-pg3
Basith, I. (2023, July 16). Sejarah Batik Patengteng Khas Madura. Https://Pojoksuramadu.Com/Batik-Patengteng-Madura/.
Cahyaningrum, L. P. (2018). Batik Tulis Kontemporer di Desa Kliwonan, Kecamatan Masaran, Kabupaten Sragen. ORNAMEN, Jurnal Kriya, 15(1), 44–56. https://doi.org/https://doi.org/10.33153/ornamen.v15i1.2474
Daniswari, D. (2022). Batik Cap: Teknik, Ciri-ciri, dan Alat. https://regional.kompas.com/read/2022/09/16/182246578/batik-cap-teknik-ciri-ciri-dan-alat?page=all
Habiby, F. I. (2018). Profil Home Industry Batik Di Desa Tanjung Bumi Kecamatan Tanjung Bumi Kabupaten Bangkalan (Studi Kasus Tentang Home Industry Batik Di Desa Tanjung Bumi). Swara Bhumi E-Journal , 5(9). https://ejournal.unesa.ac.id/index.php/swara-bhumi/article/view/26563
Hung, H. chun, Hartatik, Ma’rifat, T. A., & Simanjuntak, T. (2022). Mongol fleet on the way to Java: First archaeological remains from the Karimata Strait in Indonesia. Archaeological Research in Asia, 29. https://doi.org/10.1016/j.ara.2021.100327
Kadafi, M. S., & Handayaningrum, W. (2020). Kajian Perkembangan Desain, Warna Dan Nilai Motif Kembang Kopi Pada Batik Tulis Di Bangkalan Madura, Tahun 2005-2015. Ars: Jurnal Seni Rupa Dan Desain, 23(2), 84–91. https://doi.org/10.24821/ars.v23i2.4092
Khotimah, K., & Wantara, P. (2021). Pengaruh Promosi, Harga Dan Kualitas Produk Terhadap Keputusan Pembelian Batik Madura Pada Galery Pesona Bangkalan. Jurnal Kajian Ilmu Manajemen (JKIM), 1(1), 64–75. https://doi.org/10.21107/jkim.v1i1.10601
Kusrianto, A. (2013). Batik, Filosofi, Motif dan Kegunaan. Penerbit Andi.
Kusrianto, A. (2021). Menelusur Asal usul Batik, Benang Merah antara Sejarah, Dongeng Panji, Hingga Hasil Riset Modern. Penerbit Andi.
Mudjijono. (2016). Lancor Hingga Mata Keteran (Motif Batik Madura). Jantra: Jurnal Sejarah Dan Budaya, 11(2), 169–179. https://repositori.kemdikbud.go.id/5152/
PulauMadura.com. (2020, September 4). Sepenggal Cerita Tentang Batik Patengteng Modung Bangkalan. Https://Www.Pulaumadura.Com/2020/04/Sepenggal-Cerita-Tentang-Batik-Patengteng.Html.
Rahayu, L. P. (2020, November 9). Filosofi dan Jenis motif batik Tanjung Bumi Madura.
Rahayu, L. P. (2021, August 21). Jenis corak motif batik Pamekasan Madura.
Rahayu, L. P. (2022, July 16). Filosofi dan Jenis motif batik Sumenep Madura.
Rina, A. (2021, October 11). Batik Buketan Berasal dari Bahasa Perancis. Https://Www.Adhiantirina.Com/2021/10/Batik-Buketan.Html.
Sabaruddin, H. (2020, November 10). Asal usul masuknya Islam di Madura.
Sahertian, J. (2016). Entrepreneurship Perajin Batik Tulis Madura (Studi Kasus Perajin Batik Tulis di Desa Paseseh dan Telaga Biru, Kabupaten Bangkalan). Jurnal Entrepreneur Dan Entrepeneurship, 5(2), 45–54. https://doi.org/https://doi.org/10.37715/jee.v5i2.405
Sandiantoro. (2015). Batik Tanjungbumi, The Art of Madura Batik. Byzantium Creative-Media.
Sobur, A. (2003). Semiotika Komunikasi. PT. Remaja Rosdakarya.
Suhardi, B., Widyo Laksono, P., & Nur Fadhilah, N. (2017). Analisis Penerapan Produksi Bersih Pada Batik Printing Ikm Batik Puspa Kencana Laweyan Surakarta. Jurnal Teknologi Industri Pertanian, 27(2), 182–191. https://doi.org/10.24961/j.tek.ind.pert.2017.27.2.182
Suminto, R. A. S. (2015). BATIK MADURA: Menilik Ciri Khas dan Makna Filosofinya. CORAK, 4(1), 2–12. https://doi.org/10.24821/corak.v4i1.2356
Sutiyati, E. (2016). Nilai Filosofi Motif Parang Rusak Gurdo Dalam Tari Bedhaya Harjuba Wiwaha. Imaji, 14(1), 12–20. https://doi.org/10.21831/imaji.v14i1.9530
Syafrawi, & Kholil, M. (2020). Ulama Fenominal Dan Berkharismatik, Syaikhona Kholil Bangkalan. Jurnal Pendidikan Dan Pemikiran Keislaman, 7(2). https://garuda.kemdikbud.go.id/documents/detail/2038623
Triandika, L., Dewi, D. K., & Priono, M. (2022). Transfigurasi Komunikasi Visual pada Corak Motif Batik Pamekasan Madura. IKOMIK: Jurnal Ilmu Komunikasi Dan Informasi, 2(2), 127–137. https://doi.org/10.33830/ikomik.v2i2.4109
Triandika, L. S. (2021a). Makna Motif Batik Tanjung Bumi Madura dalam Perspektif Unsur-unsur Keislaman. Dakwatuna: Jurnal Dakwah Dan Komunikasi Islam, 7(2), 280–308. https://doi.org/10.54471/dakwatuna.v7i2.929
Triandika, L. S. (2021b). Makna Stilasi Corak Motif Batik Tanjungbumi Madura. Studi Budaya Nusantara (SBN), 5(2), 132–143. https://jsbn.ub.ac.id/index.php/sbn/article/view/141
Triandika, L. S. (2022). Nilai Keislaman dalam Corak Motif Batik Pamekasan Madura Melalui Analisis Semiotika. Mediakita, 6(1), 44–59. https://doi.org/10.30762/mediakita.v6i1.167
Triandika, L. S. (2023). The Uniqueness of Culture: Acculturation between Religion and Local Culture on Indonesian Sumenep Batik Motifs. Fikri : Jurnal Kajian Agama, Sosial Dan Budaya, 8(1), 41–53. https://doi.org/10.25217/jf.v8i1.3180
Triandika, L. S., Arifin, S., & Rachmad, T. H. (2023). The Meaning of Madura Batik Patterns in a Review of Visual Communication, Culture, and Religiosity Elements. Jurnal Sosial Budaya, 20(1), 37–49. https://doi.org/http://dx.doi.org/10.24014/sb.v20i1.22357
Wulandary, R. M. C., Gani, Y. A., & Hermawan, H. (2015). Peranan Pemerintah Daerah Dalam Pemberdayaan Budaya Lokal (Studi tentang Program Pemberdayaan Pengrajin Batik Dalam Rangka Meningkatkan Komoditi Ekonomi di Desa Klampar Kecamatan Proppo Kabupaten Pamekasan-Madura). Wacana, Jurnal Sosial Dan Humaniora, 18(03), 184–195. https://doi.org/10.21776/ub.wacana.2017.018.03.5
Yuliati, D. (2010). Mengungkap Sejarah batik Semarangan. PARAMITA Historical Studies Journal, 20(1), 11–20. https://doi.org/https://doi.org/10.15294/paramita.v20i1.1055
Yunianto, P. (2018). The Iconic Stilation Of Molioboro Street Furniture. Jurnal SULUH, 1(1), 106–121. https://doi.org/https://doi.org/10.34001/jsuluh.v1i1.662
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2024 Lulus Sugeng Triandika
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
Authors who publish with Satwika : Kajian Ilmu Budaya dan Perubahan Sosial agree to the following terms:
- For all articles published in Satwika, copyright is retained by the authors. Authors give permission to the publisher to announce the work with conditions. When the manuscript is accepted for publication, the authors agree to automatic transfer of the publishing right to the publisher.
- Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution-ShareAlike 4.0 International License that allows others to share the work with an acknowledgment of the work's authorship and initial publication in this journal.
- Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgment of its initial publication in this journal.
- Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access)