Batik

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This article is about the painting and textile dyeing technique, for other uses see Batik (disambiguation). For the SVG software library, see Batik (software)

Indonesian batik

Batik (Javanese pronunciation: [ˈbateʔ]; Indonesian: [ˈbatɪk]; English: /ˈbætɪk/ or /bəˈtiːk/) is a cloth that is traditionally made using a manual wax-resist dyeing technique. Batik or fabrics with the traditional batik patterns are found in (particularly) Indonesia, Malaysia, Japan, China, Azerbaijan, India, Sri Lanka, Egypt, Nigeria, Senegal, and Singapore.
Javanese traditional batik, especially from Yogyakarta and Surakarta, has notable meanings rooted to the Javanese conceptualization of the universe. Traditional colours include indigo, dark brown, and white, which represent the three major Hindu Gods (Brahmā, Visnu, and Śiva). This is related to the fact that natural dyes are most commonly available in indigo and brown. Certain patterns can only be worn by nobility; traditionally, wider stripes or wavy lines of greater width indicated higher rank. Consequently, during Javanese ceremonies, one could determine the royal lineage of a person by the cloth he or she was wearing.
Other regions of Indonesia have their own unique patterns that normally take themes from everyday lives, incorporating patterns such as flowers, nature, animals, folklore or people. The colours of pesisir batik, from the coastal cities of northern Java, is especially vibrant, and it absorbs influence from the Javanese, Arab, Chinese and Dutch cultures. In the colonial times pesisir batik was a favourite of the Peranakan Chinese, Dutch and Eurasians.^{[citation needed]}
UNESCO designated Indonesian batik as a Masterpiece of Oral and Intangible Heritage of Humanity on October 2, 2009. As part of the acknowledgment, UNESCO insisted that Indonesia preserve their heritage.^[1]

Etymology

Although the word's origin is Javanese, its etymology may be either from the Javanese amba ('to write') and titik ('dot' or 'point'), or constructed from a hypothetical Proto-Austronesian root *beCík, meaning 'to tattoo' from the use of a needle in the process. The word is first recorded in English in the Encyclopædia Britannica of 1880, in which it is spelled battik. It is attested in the Indonesian Archipelago during the Dutch colonial period in various forms: mbatek, mbatik, batek and batik.^[2][3][4]

History

Wax-resist dyed textile from Niya (Tarim Basin), China

The carving details of clothes worn by Prajnaparamita, 13th century East Java statue. The intricate floral pattern similar to traditional Javanese batik.

Wax resist dyeing technique in fabric is an ancient art form. Discoveries show it already existed in Egypt in the 4th century BCE, where it was used to wrap mummies; linen was soaked in wax, and scratched using a sharp tool. In Asia, the technique was practised in China during the T'ang dynasty (618-907 CE), and in India and Japan during the Nara period (645-794 CE). In Africa it was originally practised by the Yoruba tribe in Nigeria, Soninke and Wolof in Senegal.^[5]
In Java, Indonesia, batik predates written records. G. P. Rouffaer argues that the technique might have been introduced during the 6th or 7th century from India or Sri Lanka.^[5] On the other hand, JLA. Brandes (a Dutch archeologist) and F.A. Sutjipto (an Indonesian archeologist) believe Indonesian batik is a native tradition, regions such as Toraja, Flores, Halmahera, and Papua, which were not directly influenced by Hinduism and have an old age tradition of batik making.^[6]
Rouffaer also reported that the gringsing pattern was already known by the 12th century in Kediri, East Java. He concluded that such a delicate pattern could only be created by means of the canting (also spelled tjanting or tjunting; pronounced [ˌtʃanˈtiŋ]) tool. He proposed that the canting was invented in Java around that time.^[6] The carving details of clothes wore by Prajnaparamita, the statue of buddhist goddess of transcendental wisdom from East Java circa 13th century CE. The clothes details shows intricate floral pattern similar to today traditional Javanese batik. This suggested intricate batik fabric pattern applied by canting already existed in 13th century Java or even earlier.
In Europe, the technique is described for the first time in the History of Java, published in London in 1817 by Sir Thomas Stamford Raffles who had been a British governor for the island. In 1873 the Dutch merchant Van Rijckevorsel gave the pieces he collected during a trip to Indonesia to the ethnographic museum in Rotterdam. Today Tropenmuseum houses the biggest collection of Indonesian batik in the Netherlands. The Dutch were active in developing batik in the colonial era, they introduced new innovations and prints. And it was indeed starting from the early 19th century that the art of batik really grew finer and reached its golden period. Exposed to the Exposition Universelle at Paris in 1900, the Indonesian batik impressed the public and the artisans.^[5] After the independence of Indonesia and the decline of the Dutch textile industry, the Dutch batik production was lost. The Gemeentemuseum, Den Haag contains artifacts from that era.
Due to globalization and industrialization, which introduced automated techniques, new breeds of batik, known as batik cap ([ˈtʃap]) and batik print emerged, and the traditional batik, which incorporates the hand written wax-resist dyeing technique is known now as batik tulis (lit: 'Written Batik').
At the same time, according to the Museum of Cultural History of Oslo, Indonesian immigrants to Malaysia brought the art with them. As late as the 1920s Javanese batik makers introduced the use of wax and copper blocks on Malaysia's east coast. The production of hand drawn batik in Malaysia is of recent date and is related to the Javanese batik tulis.^[7]
In Sub Sahara Africa, Javanese batik was introduced in the 19th century by Dutch and English traders. The local people there adapted the Javanese batik, making larger motifs, thicker lines and more colors. In the 1970s, batik was introduced to the aboriginal community in Australia, the aboriginal community at Erna bella and Utopia now develop it as their own craft.^[8]

Culture

In one form or another, batik has worldwide popularity. Now, not only is batik used as a material to clothe the human body, its uses also include furnishing fabrics, heavy canvas wall hangings, tablecloths and household accessories. Batik techniques are used by famous artists to create batik paintings, which grace many homes and offices.

Indonesia

The Javanese aristocrats R.A. Kartini in kebaya and her husband. Her skirt is of batik, with the parang pattern, which was for aristocrats. Her husband is wearing a blangkon

Depending on the quality of the art work, craftsmanship, and fabric quality, batik can be priced from several dollars (for fake poor quality batik) to several thousand dollars (for the finest batik tulis halus which probably took several months to make). Batik tulis has both sides of the cloth ornamented.
In Indonesia, traditionally, batik was sold in 2.25-metre lengths used for kain panjang or sarong for kebaya dress. It can also be worn by wrapping it around the body, or made into a hat known as blangkon. Infants are carried in batik slings decorated with symbols designed to bring the child luck. Certain batik designs are reserved for brides and bridegrooms, as well as their families. The dead are shrouded in funerary batik.^[1] Other designs are reserved for the Sultan and his family or their attendants. A person's rank could be determined by the pattern of the batik he or she wore.
For special occasions, batik was formerly decorated with gold leaf or dust. This cloth is known as prada (a Javanese word for gold) cloth. Gold decorated cloth is still made today; however, gold paint has replaced gold dust and leaf.
Batik garments play a central role in certain rituals, such as the ceremonial casting of royal batik into a volcano. In the Javanese naloni mitoni "first pregnancy" ceremony, the mother-to-be is wrapped in seven layers of batik, wishing her good things. Batik is also prominent in the tedak siten ceremony when a child touches the earth for the first time. Batik is also part of the labuhan ceremony when people gather at a beach to throw their problems away into the sea.^[9]
The wide diversity of patterns reflects a variety of influences, ranging from indigenous designs, Arabic calligraphy, European bouquets and Chinese phoenixes to Japanese cherry blossoms and Indian or Persian peacocks.^[1]

Contemporary men batik shirt in typical Solo style, sogan color and lereng motif.

Contemporary batik, while owing much to the past, is markedly different from the more traditional and formal styles. For example, the artist may use etching, discharge dyeing, stencils, different tools for waxing and dyeing, or wax recipes with different resist values. They may work with silk, cotton, wool, leather, paper, or even wood and ceramics.

Popularity

In Indonesia, batik popularity has had its tidings. Historically, it was essential for ceremonial costumes and it was worn as part of a kebaya dress, which was commonly worn every day. According to Professor Michael Hitchcock of the University of Chichester (UK), batik "has a strong political dimension. The batik shirt was invented as a formal non-Western shirt for men in Indonesia in the 1960s, not long after the country's birth.^[10] It waned from the 1960s onwards, because more and more people chose western clothes as fashionable, decimating the batik industry.
However, batik clothing has revived somewhat in the turn of 21st century, due to the effort of Indonesian fashion designers to innovate batik by incorporating new colors, fabrics, and patterns. Batik is a fashion item for many young people in Indonesia, such as a shirt, dress, or scarf for casual wear. Kebaya is regarded as a formal attire for women. It is also acceptable for men to wear batik in the office or as a replacement for jacket-and-tie at certain receptions. After the UNESCO recognition for Indonesian batik as intangible world heritage on October 2, 2009, Indonesian administration has asked Indonesians to wear batik on Friday, and wearing batik every Friday is encouraged in all government offices and private companies ever since.^[11] Batik had helped improve the small business local economy, batik sales in Indonesia had reached Rp 3.9 trillion (US$436.8 million) in 2010, an increase from Rp 2.5 trillion in 2006. The value of batik exports, meanwhile, increased from $14.3 million in 2006 to $22.3 million in 2010.^[12]

Garuda Indonesia flight attendant uniform in kebaya and batik parang gondosuli motif.

The existence and use of batik was already recorded in the 12th century and the textile has since become a strong source of identity for Indonesians,^[13] and to lesser extent Malaysia and Singapore. Batik is featured in their national airlines uniform, the flight attendants of Singaporean, Garuda Indonesia and Malaysian national airlines wear batik prints in their uniform. Although the uniforms are actually not real batik because the production is not using the traditional way but using mass produced techniques. The female uniform of Garuda Indonesia flight attendants is more authentic modern interpretations of kartini style kebaya and batik parang gondosuli motif, which also incorporate garuda's wing motif and small dots represent jasmine.^[14] The batik motif symbolizes the ‘Fragrant Ray of Life’ and endows the wearer with elegance.^[15]

Malaysia, Singapore,Brunei

Batik was mentioned in the 17th century Malay Annals. The legend goes when Laksamana Hang Nadim was ordered by Malacca King, Sultan Mahmud, to sail to India to buy 140 pieces of serasah cloth (batik) with 40 types of flowers depicted on each. Unable to find any that fulfilled the requirements explained to him, he made up his own. On his return unfortunately, his ship sank and he only managed to bring four pieces, earning displeasure from the Sultan.^[16][17]
Today, Malaysian batik can be found on the east coast of Malaysia such as Kelantan, Terengganu and Pahang, while batik in Johor clearly shows Javanese and Sumatran influences since there are a large number of Javanese and Sumatran immigrants in southern Malaysia.
The most popular motifs are leaves and flowers. Malaysian batik often displays plants and flowers to avoid the interpretation of human and animal images as idolatry, in accordance with local Islamic doctrine.^[18] However, the butterfly theme is a common exception. The Malaysian batik is also famous for its geometrical designs, such as spirals. The method of Malaysian batik making is different from those of Indonesian Javanese batik, the pattern being larger and simpler, seldom or never using the canting to create intricate patterns, it relies heavily on the brush painting method to apply colors to fabrics. The colors also tend to be lighter and more vibrant than deep colored Javanese batik.

Thailand

Batik sarongs are also designed as wraps for casual beachwear. In the southern Thai island of Koh Samui, batik is easily found in the form of resort uniforms, or decorations at many places, and is also used for the locals' casual wear in the forms of sarongs or shirts and blouses. It is the most common, or even symbolic product for those visiting Koh Samui Island. The Batik of Samui mostly shows the beauty and attractions of the paradise island and its culture, such as the coconut shells, the beaches, palm trees, the island's tropical flowers, fishing boats, its rich water life and southern dancer, Papthalung.

Azerbaijan

The batik pattern can be found in its women's silk scarves, known as kelagai, which have been part of women's clothing there for centuries. Kelagai were first produced in the village of Basgal and were created using the stamping method and natural colors. The cocoons were traditionally processed by women while the hand-printing with hot wax was only entrusted to male artists. The silk spinning and production of kelagai in Azerbaijan slumped after the fall of the USSR. It was the Inkishaf Scientific Center that revived kelagai in the country. Kelagai is worn by women both old and young. Young women prefer bright colors, while older women wear dark colors.^[19]

China

Batik is done by the ethnic people in Guizhou Province, in the South-West of China. The Miao, Bouyei and Gejia people use a dye resist method for their traditional costumes. The traditional costumes are made up of decorative fabrics, which they achieve by pattern weaving and wax resist. Almost all the Miao decorate hemp and cotton by applying hot wax then dipping the cloth in an indigo dye. The cloth is then used for skirts, panels on jackets, aprons and baby carriers. Like the Javanese, their traditional patterns also contain symbolism, the patterns include the dragon, phoenix, and flowers.^[20]

Types and Variations of Batik

Sacred Dance of Bedhoyo Ketawang. The prada (gilded) batik is wrapped around the body.

Javanese court batik in deep brown color

Cirebon batik depicting sea creatures

Javanese Kraton Batik (Javanese court Batik)

Javanese kraton (court) Batik is the oldest batik tradition known in Java. Also known as Batik Pedalaman (inland batik) in contrast with Batik Pesisiran (coastal batik). This type of batik has earthy color tones such as black, brown, and dark yellow (sogan), sometimes against a white background. The motifs of traditional court batik have symbolic meanings. Some designs are restricted: larger motifs can only be worn by royalty; and certain motifs are not suitable for women, or for specific occasions (e.g., weddings).
The palace courts (keratonan) in two cities in central Java are known for preserving and fostering batik traditions:

• Surakarta (Solo City) Batik. Traditional Surakarta court batik is preserved and fostered by the Susuhunan and Mangkunegaran courts. The main areas that produce Solo batik are the Laweyan and Kauman districts of the city. Solo batik typically has sogan as the background color. Pasar Klewer near the Susuhunan palace is a retail trade center.
• Yogyakarta Batik. Traditional Yogya batik is preserved and fostered by the Yogyakarta Sultanate and the Pakualaman court. Usually Yogya Batik has white as the background color. Fine batik is produced at Kampung Taman district. Beringharjo market near Malioboro street is well known as a retail batik trade center in Yogyakarta.

Pesisir Batik (Coastal Batik)

Pesisir batik is created and produced by several areas on the northern coast of Java and on Madura. As a consequence of maritime trading, the Pesisir batik tradition was more open to foreign influences in textile design, coloring, and motifs, in contrast to inland batik, which was relatively independent of outside influences. For example, Pesisir batik utilizes vivid colors and Chinese motifs such as clouds, phoenix, dragon, qilin, lotus, peony, and floral patterns.

• Pekalongan Batik. The most famous Pesisir Batik production area is the town of Pekalongan in Central Java province. Compared to other pesisir batik production centers, the batik production houses in this town is the most thriving. Batik Pekalongan was influenced by both Dutch-European and Chinese motifs, for example the buketan motifs was influenced by European flower bouquet.
• Cirebon Batik. Also known as Trusmi Batik because that is the primary production area. The most well known Cirebon batik motif is megamendung (rain cloud) that was used in the former Cirebon Kraton. This cloud motif shows Chinese influence.
• Lasem Batik. Lasem batik is characterized by a bright red color called abang getih pithik (chicken blood red). Batik Lasem is heavily influenced by Chinese culture.
• Tuban Batik. Batik gedog is the speciality of Tuban Batik, the batik was created from handmade tenun (woven) fabrics.
• Madura Batik. Madurese Batik displays vibrant colors, such as yellow, red, and green. Madura unique motifs for example pucuk tombak (spear tips), also various flora and fauna images.

Indonesian Batik from other areas

Java

• Priangan Batik or Sundanese Batik is the term proposed to identify various batik cloths produced in the "Priangan" region, a cultural region in West Java and Northwest Java (Banten).^[21] Traditionally this type of batik is produced by Sundanese people in the several district of West Java such as Ciamis, Garut, an Tasikmalaya; however it also encompasses Kuningan Batik which demonstrate Cirebon Batik influences, and also Banten Batik that developed quite independently and have its own unique motifs. The motifs of Priangan batik are visually naturalistic and strongly inspired by flora (flowers and swirling plants) and fauna (birds especially peacock and butterfly). The variants and production centers of Priangan Batik are:
  • Ciamis Batik. Ciamis used to rival other leading batik industry centers in Java during early 20th century. Compared to other regions, Ciamis batik is stylistically less complex. The flora and fauna motifs known as ciamisan are drawn in black, white, and yellowish brown. Motifs are similar to coastal Cirebon Batik, but the thickness of coloring share the same styles as inland batik. The thick coloring of Ciamis batik is called sarian.
  • Garut Batik. This type of batik is produced in the Garut district of West Java. Garutan batik can be identified by its distinctive colors, gumading (yellowish ivory), indigo, dark red, dark green, yellowish brown, and purple. Ivory stays dominant in the background. Despite applying traditional Javanese court motifs such as rereng, Garut batik uses lighter and brighter colors compared to Javanese court batik.
  • Tasikmalaya Batik. This type of batik is produced in the Tasikmalaya district, West Java. Tasikmalaya Batik has its own traditional motif such as umbrella. Center of Tasikmalaya Batik can be found in Ciroyom District about 2 km from city center of Tasikmalaya.
  • Kuningan Batik.
  • Banten Batik. This type of batik employs bright and soft pastel colors. It represents a revival of a lost art from the Sultanate of Banten, rediscovered through archaeological work during 2002-2004. Twelve motifs from locations such as Surosowan and several other places have been identified.^[22]
• Java Hokokai Batik. This type is characterized by flowers in a garden surrounded by butterflies. This motif originated during the Japanese occupation of Java in the early 1940s. The long fabrics usually is done in two pattern called pagi/sore (Indonesian: morning and afternoon) refer to two type of motifs in one sheet of fabric, as the solution of cotton fabrics scarcity during war time. Another recognizable traits of Java Hokokai batik are the Japanese influenced motifs; such as sakura (cherry blossoms) and seruni or kiku (chrysanthemums, Japan national flower and the symbol of the emperor), butterflies (symbol of female elegance in Japanese culture), and overlaying intricate details that has made Jawa Hokokai batiks as one of the most notable, noble and beautiful batik art forms in Asia.

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  Javanese batik with bird and floral motifs
  
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  Batik Buketan Pekalongan shows European flower bouquet
  
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  Batik Lasem with its typical bright red
  
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  Batik Java Hokokai demonstrated Japanese influenced motifs
  

Bali

• Balinese Batik. As Balinese Hindu culture does not restrict the depiction of images, the Balinese have traditionally focused more on sculpture and painting than on textiles. Balinese batik was influenced by neighbouring Javanese Batik and is relatively recent compared to the latter island, having been stimulated by the tourism industry and consequent rising demand for souvenirs (since the early 20th century). In addition to the traditional wax-resist dye technique and industrial techniques such as the stamp (cap) and painting, Balinese batik sometimes utilizes ikat (tie dye). Balinese batik is characterized by bright and vibrant colors, which the tie dye technique blends into a smooth gradation of color with many shades.

Sumatra

• Jambi Batik. Trade relations between the Melayu Kingdom in Jambi and Javanese coastal cities have thrived since the 13th century. Therefore, the northern coastal areas of Java (Cirebon, Lasem, Tuban, and Madura) probably influenced Jambi in regard to batik. In 1875, Haji Mahibat from Central Java revived the declining batik industry in Jambi. The village of Mudung Laut in Pelayangan district is known for producing Jambi batik. This Jambi batik, as well as Javanese batik, influenced the batik craft in the Malay peninsula.^[23]
• Minangkabau Batik. Minangkabau ethnic also have batik called as Batiak Tanah Liek (Clay Batik). They use clay as dye for batik. The fabric was immersed in clay for more than 1 day to make permanent color and after that they design the motif of animal and flora^[24]
• Aceh Batik.
• Palembang Batik.
• Riau Batik.

Painting

Out of its traditional context as fabrics with pattern, batik can also be as a medium for artists to make traditional or modern paintings or artworks. Such arts can be categorized in the normal categorization of arts of the west.

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  Batik painting depicting two Indian women
  
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  Javanese batik painting depicting buddhist deity
  
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  Sydney Opera House (Artist - Arman Mamyan)
  
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  Indonesian modern batik painting.
  
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  Framed modern impressionist batik painting by Yogya based artist Slamet Ryanto.
  
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  Modern impressionist batik painting by Yogya based artist Yanci. (dd.2010)
  

Batik Collectors

• Santosa Doellah has been recognised by The Indonesian Museum of Records as having the world’s largest collection of ancient Chinese-influenced Indonesian batik textiles. In total his collection consists of approximately 10,000 Batik pieces.^[25]
• The late mother of United States president Barack Obama, Ann Dunham was an avid collector of Batik. In 2009, an exhibition of Dunham's textile batik art collection (A Lady Found a Culture in its Cloth: Barack Obama's Mother and Indonesian Batiks) toured six museums in the United States, finishing the tour at the Textile Museum.^[26]
• Nelson Mandela wears a batik shirt on formal occasions, the South Africans call it a Madiba shirt.

Technique

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  Batik painting in Java during colonial period. Observe many different varieties of patterns used.
  
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  Dipping cloth in dye.
  
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  Production of batik cloth in Java, Dutch East Indies, 1912.
  
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  A Batik Tulis maker applying melted wax following pattern on fabric using canting, Yogyakarta (city), Indonesia.
  
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  Bambang Oetoro demonstrates batik painting technique in the first batik gallery in Amsterdam, 1977.
  

Melted wax (Javanese: malam) is applied to cloth before being dipped in dye. It is common for people to use a mixture of beeswax and paraffin wax. The beeswax will hold to the fabric and the paraffin wax will allow cracking, which is a characteristic of batik. Wherever the wax has seeped through the fabric, the dye will not penetrate. Sometimes several colours are used, with a series of dyeing, drying and waxing steps.
Thin wax lines are made with a tjanting, a wooden handled tool with a tiny metal cup with a tiny spout, out of which the wax seeps. After the last dyeing, the fabric is hung up to dry. Then it is dipped in a solvent to dissolve the wax, or ironed between paper towels or newspapers to absorb the wax and reveal the deep rich colors and the fine crinkle lines that give batik its character. This traditional method of batik making is called batik tulis.
For batik prada, gold leaf was used in the Yogjakarta and Surakarta area. The Central Javanese used gold dust to decorate their prada cloth. It was applied to the fabric using a handmade glue consisting of egg white or linseed oil and yellow earth. The gold would remain on the cloth even after it had been washed. The gold could follow the design of the cloth or could take on its own design. Older batiks could be given a new look by applying gold to them.

Industrialization of Technique

Batik cap (copper block stamp) as a method to apply wax on fabrics

The application of wax with a tjanting tool is done with great care and therefore is very time-consuming. As the population increased and commercial demand rose, time-saving methods evolved. Other methods of applying the wax to the fabric include pouring the liquid wax, painting the wax with a brush, and putting hot wax onto pre-carved wooden or copper block (called a cap or tjap) and stamping the fabric. The tjanting is used like a pen on the cloth.
The invention of the copper block (cap) developed by the Javanese in the 20th century revolutionized batik production. By block printing the wax onto the fabric, it became possible to mass-produce designs and intricate patterns much faster than one could possibly do by using a tjanting.
Batik print is the common name given to fabric that incorporates batik pattern without actually using the wax-resist dyeing technique. It represents a further step in the process of industrialization, reducing the cost of batik by mass-producing the pattern repetitively, as a standard practice employed in the worldwide textile industry.

Notes

1. ^ ^{a b c} Indonesian Batik Inscribed in 2009 on the Representative List of the Intangible Cultural Heritage of Humanity
2. ^ Oxford English Dictionary: Batik
3. ^ Dictionary.com: Batik
4. ^ Robert Blust, 'Austronesian Etymologies: IV' in Oceanic Linguistics, Vol. 28, No. 2. (Winter, 1989)
5. ^ ^{a b c} Nadia Nava, Il batik - Ulissedizioni - 1991 ISBN 88-414-1016-7
6. ^ ^{a b} Iwan Tirta, Gareth L. Steen, Deborah M. Urso, Mario Alisjahbana, 'Batik: a play of lights and shades, Volume 1', By Gaya Favorit Press, 1996, ISBN 979-515-313-7, 9789795153139
7. ^ Malaysia - Batikktradisjoner i bevegelse
8. ^ Antropolog Australia Beri Ceramah Soal Batik
9. ^ "Batik Days", The Jakarta Post, 2 October 2009
10. ^ Indonesians tell Malaysians 'Hands off our batik' Telegraph.co.uk, accessed 8 October 2009
11. ^ Administration calls for all-in batik day this Friday
12. ^ Let’s use batik as diplomatic tool: SBY
13. ^ Indonesialogue Book Review – Batik: Creating an Identity
14. ^ Indriasari, Lusiana; Yulia Sapthiani (26). "Terbang Bersama Kebaya" (in Indonesian). Female Kompas.com. Retrieved 24-10-2011.
15. ^ "Garuda Indonesia Launches New Uniform" (in English). Garuda Indonesia.com. 2. Retrieved 24-10-2011.
16. ^ (Malay) Dewan sastera, Volume 31, Issues 1-6 By Dewan Bahasa dan Pustaka
17. ^ Journal of the Malaysian Branch of the Royal Asiatic Society, Volume 25 By Royal Asiatic Society of Great Britain and Ireland. Malaysian Branch, Singapore, Project Muse
18. ^ Figural Representation in Islamic Art.
19. ^ Batik around the world Jakarta Post, accessed 24 January 2010
20. ^ Batik in China The Batik Guild, 1999
21. ^ Didit Pradito, Herman Jusuf, Saftyaningsih Ken Atik, "The Dancing Peacock, Colours and Motifs of Priangan Batik", Gramedia Pustaka Utama, Jakarta 2010, ISBN 978-979-22-5825-7, page: 5
22. ^ Uke Kurniawan, Memopulerkan Batik Banten, haki.lipi.go.id, accessed 4 October 2009
23. ^ National Geographic Traveller Indonesia, Vol 1, No 6, 2009, Jakarta, Indonesia, page 54
24. ^ "Pesona Batik Tanah Liek" (in Indonesian). West Sumatra.com. 16. Retrieved 24-10-2011.
25. ^ Record-Holding Chinese-Indonesian Batik Collection Unveiled for Solo Festival Jakarta Globe, accessed 7 February 2010
26. ^ McCann, Ruth (2009-08-08). "Cut From Obama's Mother's Cloth". The Washington Post. ISSN 0190-8286.

References

Wikimedia Commons has media related to: Batik

Wikimedia Commons has media related to: Indonesian batik

• Doellah, H.Santosa. (2003). Batik : The Impact of Time and Environment, Solo : Danar Hadi. ISBN 979-97173-1-0
• Elliott, Inger McCabe. (1984) Batik : fabled cloth of Java photographs, Brian Brake ; contributions, Paramita Abdurachman, Susan Blum, Iwan Tirta ; design, Kiyoshi Kanai. New York : Clarkson N. Potter Inc., ISBN 0-517-55155-1
• Fraser-Lu, Sylvia.(1986) Indonesian batik : processes, patterns, and places Singapore : Oxford University Press. ISBN 0-19-582661-2
• QuaChee & eM.K. (2005) "Batik Inspirations: Featuring Top Batik Designers". ISBN 978981054478
• Sir Thomas Stamford Raffles (1817) "History of Java", London
• Iwan Tirta, Gareth L. Steen, Deborah M. Urso, Mario Alisjahbana, (1996) "Batik: a play of lights and shades, Volume 1", Indonesia : Gaya Favorit Press, ISBN 979-515-313-7, 9789795153139
• Nadia Nava, Il batik - Ulissedizioni - 1991 ISBN 88-414-1016-7
• SamuiBatik.com - Samui Batik (2010)

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Indonesian children dress in various traditional costumes.

The Culture of Indonesia has been shaped by long interaction between original indigenous customs and multiple foreign influences. Indonesia is central along ancient trading routes between the Far East and the Middle East, resulting in many cultural practices being strongly influenced by a multitude of religions, including Hinduism, Buddhism, Confucianism and Islam, all strong in the major trading cities. The result is a complex cultural mixture very different from the original indigenous cultures.
Examples of cultural fusion include the fusion of Islam with Hindu in Javanese Abangan belief, the fusion of Hinduism, Buddhism and animism in Bodha, and the fusion of Hinduism and animism in Kaharingan; others could be cited.
Indonesian art-forms express this cultural mix. Wayang, traditional theater-performed puppet shows, were a medium in the spread of Hinduism and Islam amongst Javan villagers. Both Javanese and Balinese dances have stories about ancient Buddhist and Hindu kingdoms, while Islamic art forms and architecture are present in Sumatra, especially in the Minangkabau and Aceh regions. Traditional art, music and sport are combined in a martial art form called Pencak Silat.
Western culture has greatly influenced Indonesia in modern entertainment such as television shows, film and music, as well as political system and issues. India has notably influenced Indonesian songs and movies. A popular type of song is the Indian-rhythmical dangdut, which is often mixed with Arab and Malay folk music.
Despite the influences of foreign culture, some remote Indonesian regions still preserve uniquely indigenous culture. Indigenous ethnic groups Mentawai, Asmat, Dani, Dayak, Toraja and many others are still practicing their ethnic rituals, customs and wearing traditional clothes.

Traditional performing arts

Music

Gamelan player, Yogyakarta

Main article: Music of Indonesia

Indonesia is home to various styles of music, with those from the islands of Java, Sumatra and Bali being frequently recorded. The traditional music of central and East Java and Bali is the gamelan.
On June 29, 1965, Koes Plus, a leading Indonesian pop group in the 1960s, 70s and 80s, was imprisoned in Glodok, West Jakarta, for playing Western-style music. After the resignation of President Sukarno, the law was rescinded, and in the 1970s the Glodok prison was dismantled and replaced with a large shopping mall.
Kroncong is a musical genre that uses guitars and ukuleles as the main musical instruments. This genre had its roots in Portugal and was introduced by Portuguese traders in the 15th century. There is a traditional Keroncong Tugu music group in North Jakarta and other traditional Keroncong music groups in Maluku, with strong Portuguese influences. This music genre was popular in the first half of the 12th century; a contemporary form of Kroncong is called Pop Kroncong.
Angklung musical orchestra, native of West Java, received international recognition as UNESCO has listed the traditional West Java musical instrument made from bamboo in the list of intangible cultural heritage.^[1][2]
The soft Sasando music from the province of East Nusa Tenggara in West Timor is completely different. Sasando uses an instrument made from a split leaf of the Lontar palm (Borassus flabellifer), which bears some resemblance to a harp.

Dance

Balinese topeng dance drama.

Main article: Dance in Indonesia

Indonesian dance reflects the diversity of culture from ethnic groups that composed the nation of Indonesia. Austronesian roots and Melanesian tribal dance forms are visible, and influences ranging from neighboring Asian countries; such as India, China, and Middle East to European western styles through colonization. Each ethnic group has their own distinct dances; makes total dances in Indonesia are more than 3000 Indonesian original dances. However, the dances of Indonesia can be divided into three eras; the Prehistoric Era, the Hindu/Buddhist Era and the Era of Islam, and into two genres; court dance and folk dance.
There is a continuum in the traditional dances depicting episodes from the Ramayana and Mahabharata from India, ranging through Thailand, all the way to Bali. There is a marked difference, though, between the highly stylized dances of the courts of Yogyakarta and Surakarta and their popular variations. While the court dances are promoted and even performed internationally, the popular forms of dance art and drama must largely be discovered locally.
During the last few years, Saman from Nanggroe Aceh Darussalam has become rather popular and is often portrayed on TV. Reog Ponorogo is also a dance that originated from the district Ponorogo, East Java, which is a visualization of the legendary story Wengker kingdom and the kingdom of Kediri.
A popular line dance called Poco-poco was originated in Indonesia and also popular in Malaysia, but at early April 2011 Malaysian Islamic clerics ban poco-poco dance for Muslims due to they believe it is traditionally a Christian dance and that its steps make the sign of the cross.^[3]

Drama and theatre

Wayang kulit performance.

Wayang, the Javanese, Sundanese, and Balinese shadow puppet theatre shows display several mythological legends such as Ramayana and Mahabharata, and many more. Wayang Orang is Javanese traditional dance drama based on wayang stories. Various Balinese dance drama also can be included within traditional form of Indonesian drama. Another form of local drama is Javanese Ludruk and Ketoprak, Sundanese Sandiwara, and Betawi Lenong. All of these drama incorporated humor and jest, often involving audiences in their performance.
Randai is a folk theatre tradition of the Minangkabau people of West Sumatra, usually performed for traditional ceremonies and festivals. It incorporates music, singing, dance, drama and the silat martial art, with performances often based on semi-historical Minangkabau legends and love story.
Modern performing art also developed in Indonesia with their distinct style of drama. Notable theatre, dance, and drama troupe such as Teater Koma are gain popularity in Indonesia as their drama often portray social and political satire of Indonesian society.

Martial Art

Pencak Silat demonstration in Jakarta.

Main articles: Silat and Pencak Silat

The art of silat was created and firstly developed in the islands of Java and Sumatra. It is an art for survival and practiced throughout Indonesian archipelago. Centuries of tribal wars in Indonesian history had shaped silat as it was used by the ancient warriors of Indonesia. Silat was used to determine the rank and position in old Indonesian kingdoms.
Contacts with Indians and Chinese was further enriched silat. Silat reached areas beyond Indonesia mainly through diaspora of Indonesian people. People from various regions like Aceh, Minangkabau, Riau, Bugis, Makassar, Java, Banjar, etc. moved into and settled in Malay Peninsula and other islands. They brought silat and passed it down to their descendants. The Indonesian of half-Dutch descent are also credited as the first to brought the art into Europe.
Silat was used by Indonesian freedom fighters during their struggle against the Dutch colonists. Unfortunately after Indonesia achieving their independence, silat became less popular among Indonesian youth compare to foreign martial arts like Karate and Taekwondo. This probably because silat was not taught openly and only passed down among blood relatives, the other reason is the lack of media portrayal of the art.
Efforts have been made in recent years to introduce and reintroduce the beauty of silat to Indonesian youth and the world. Exhibitions and promotions by individuals as well as state-sponsored groups helped the growing of silat's popularity, particularly in Europe and United States. Indonesian 2009 Silat movie Merantau is one of Indonesian efforts to introduce silat to international scene.
Another martial art from Indonesia is Tarung Derajat. It is a modern combat system created by Haji Ahmad Drajat based on his experience as a street fighter. Tarung Drajat has been acknowledge as a national sport by KONI in 1998 and is now using by Indonesian Army as part of their basic training.

[Traditional visual arts

Painting

Kenyah mural painting in Long Nawang, East Kalimantan.

What Indonesian painting before the 19th century are mostly restricted to the decorative arts, considered to be a religious and spiritual activity, comparable to the pre-1400 European art. Artists name are anonymous, since the individual human creator was seen as far less important than their creation to honor the deities or spirits. Some examples are the Kenyah decorative art, based on endemic natural motifs such as ferns and hornbills, found decorating the walls of Kenyah long houses. Other notable traditional art is the geometric Toraja wood carvings. Balinese painting are initially the narative images to depict scenes of Balinese legends and religious scripts. The classical Balinese paintings are often decorating the lontar manuscripts and also the ceilings of temples pavilion.

Hunt by Raden Saleh.

Balinese painting by I Ketut Ginarsa.

Under the influence of the Dutch colonial power, a trend toward Western-style painting emerged in the 19th century. In the Netherlands, the term "Indonesian Painting" is applied to the paintings produced by Dutch or other foreign artists who lived and worked in the former Netherlands-Indies. The most famous indigenous 19th century Indonesian painter is Raden Saleh (1807–1877), the first indigenous artist to study in Europe. His art is heavily influenced by Romanticism.^[4] In 1920's Walter Spies began to settled in Bali, he is often credited with attracting the attention of Western cultural figures to Balinese culture and art. His works has somehow influenced Balinese artists and painters. Today Bali has one of the most vivid and richest painting tradition in Indonesia.
The 1920s to 1940s were a time of growing nationalism in Indonesia. The previous period of romanticism movement was not seen as a purely Indonesian movement and did not developed. Painters began to see the natural world for inspiration. Some examples of Indonesian painter during this period are the Balinese Ida Bagus Made and the realist Basuki Abdullah. The Indonesian Painters Association (Persatuan Ahli-Ahli Gambar Indonesia or PERSAGI, 1938–1942) was formed during this period. PERSAGI established a contemporary art philosophy that saw art works as reflections of the artist’s individual or personal view as well as an expression of national cultural thoughts.
From the 1940s on, artists started to mix Western techniques with Southeast Asian imagery and content. Painters that rooted in the revolutionary movement of the World War and the post-World War period started to appear during this period, such as Sudjojono, Affandi, and Hendra.^[5]
During the 1960s, new elements were added when abstract expressionism and Islamic art began to be absorbed by the art community. Also during this period, group of painters that are more concerned about the reality of Indonesian society began to appear, taking inspiration from the social problem such as division between the rich and the poor, pollution, and deforestation. The national identity of Indonesia was stressed by these painters through the use of a realistic, documentary style. During the Sukarno period this socially-engaged art was officially promoted, but after 1965 it lost popularity due to its presumed communist tendencies.^[6]
Three art academies offer extensive formal training in visual art: Bandung Institute of Technology founded in 1947; the Akademi Seni Rupa Indonesia (Indonesian Fine Arts Academy) or ASRI, now known as ISI, in Yogyakarta was inaugurated in 1950; and the Institut Kesenian Jakarta (Jakarta Arts Institute) or IKJ, was opened in 1970.

See also: List of Indonesian painters

Sculpture

Relief sculpture from Borobudur temple.

Indonesia has a long history of stone, bronze and iron ages arts. The megalithic sculptures can be found in numerous archaeological sites in Sumatra, Java to Sulawesi. The native Indonesians tribes have their own distinct tribal sculpture styles, usually created to depict ancestors, deities and animals. The pre-Hindu-Budhist and pre-Islamic sculptures can be traced in the artworks of indigenous Indonesian tribes. The most notable sculptures are those of Asmat wooden sculpture of Papua, the Dayak wooden mask and sculpture, the ancestral wooden statue of Toraja, also the totem-like sculpture of Batak and Nias tribe.
The stone sculpture artform particularly flourished in the eighth to tenth centuries Java and Bali, which demonstrate the influences of Hindu-Buddhist culture, both as stand-alone works of art and also incorporated into temples. Most notable sculpture of classical Hindu-Buddhist era of Indonesia are the hundreds of meters of relief and hundreds of stone buddhas at the temple of Borobudur in central Java. Approximately two miles of exquisite relief sculpture tell the story of the life of Buddha and illustrate his teachings. The temple was originally home to 504 statues of the seated Buddha. This site, as with others in central Java, show a clear Indian influence. The examples of notable Indonesian Hindu-Buddhist sculptures are; the statues of Hindu deities; Shiva, Vishnu, Brahma, Durga, Ganesha and Agastya enthroned in rooms of Prambanan temples, the Vishnu mounting Garuda statue of king Airlangga, the exquisite statue of Eastern Javanese Prajnaparamita and 3.7 meters tall Dvarapala dated from Singhasari period, and also the grand statue of Bhairava Adityawarman discovered in Sumatra. Today, the Hindu-Buddhist style stone sculptures are reproduced in villages in Muntilan near Borobudur also in Bali, and sold as garden or pool ornament statues for homes, offices and hotels.
Today in Indonesia, the richest, most elaborate and vivid wooden sculpture and wood carving traditions can be found in Bali and Jepara, Central Java. Balinese handicrafts such as sculptures, masks, and other carving artworks are popular souvenir for tourist that have visited Indonesia. On the other hand the Jepara wood carving are famous for its elaborately carved wooden furnitures, folding screens also pelaminan gebyok (wedding throne with carved background).

Architecture

Minangkabau Rumah Gadang

Main article: Indonesian architecture

For centuries, the most dominant influences on Indonesian architecture were Indian, although European influences have been particularly strong since the nineteenth century and modern architecture in Indonesia is international in scope.
As in much of South East Asia, traditional buildings in Indonesia are built on stilts, with the significant exceptions of Java and Bali. Notable stilt houses are those of the Dayak people in Borneo, the Rumah Gadang of the Minangkabau people in western Sumatra, the Batak people in northern Sumatra, and the Tongkonan of the Toraja people in Sulawesi. Oversized saddle roofs with large eaves, such as the homes of the Batak and the tongkonan of Toraja, are often bigger than the house they shelter. The fronts of Torajan houses are frequently decorated with buffalo horns, stacked one above another, as an indication of status. The outside walls also frequently feature decorative reliefs.
The eighth-century Borobudur temple near Yogyakarta is the largest Buddhist temple in the world, and is notable for incorporating about 160 relief panels into its structure, telling the story of the life of the Buddha. As the visitor ascends through the eight levels of the temple, the story unfolds, the final three levels simply containing stupas and statues of the Buddha. The building is said to incorporate a map of the Buddhist cosmos and is a masterful fusion of the didactic, the monumental and the serene.
The nearby ninth-century temple complex at Prambanan contains some of the best preserved examples of Hindu temple architecture in Java. The temple complex comprises eight main shrines, surrounded by 250 smaller shrines. The Indian influence on the site is clear, not only in the style of the monument, but also in the reliefs featuring scenes from the Ramayana which adorn the outer walls of the main temples, and in the votive statuary found within.

Crafts

Hand drawn batik making

Several Indonesian islands are famous for their batik, ikat and songket cloth. Once on the brink of disappearing, batik and later ikat found a new lease of life when former President Suharto promoted wearing batik shirts on official occasions. In addition to the traditional patterns with their special meanings, used for particular occasions, batik designs have become creative and diverse over the last few years.
Other worldwide famous Indonesian crafts are Jepara wood carving^[7] and Kris. In 2005, UNESCO recognized Kris as one of Masterpiece of the Oral and Intangible Heritage of Humanity from Indonesia.^[8]

Literature

Main article: Indonesian literature

Pramoedya Ananta Toer was Indonesia's most internationally celebrated author, having won the Magsaysay Award as well as being considered for the Nobel Prize in Literature. Other important figures include the late Chairil Anwar, a poet and member of the "Generation 45" group of authors who were active in the Indonesian independence movement. Tight information controls during Suharto's presidency suppressed new writing, especially because of its ability to agitate for social reform.
In the book Max Havelaar, Dutch author Multatuli criticised the Dutch treatment of the Indonesians, which gained him international attention.
Modern Indonesian authors include Seno Gumira Adjidarma, Andrea Hirata, Habiburrahman El Shirazy, Ayu Utami, Gus tf Sakai, Eka Kurniawan, Ratih Kumala, Dee, Oka Rusmini. Some of their works have translated into other languages.

Poetry

There is a long tradition in Indonesia, particularly among ethnically Malay populations, of extemporary, interactive, oral composition of poetry. These poems are referred to as pantun. Contemporary Indonesian poets include among others, Sutardji Calzoum Bachri, Rendra, Taufiq Ismail, Afrizal Malna,^[9] Binhad Nurrohmat, Joko Pinurbo, Sapardi Djoko Damono.

Recreation and sports

Main article: Sport in Indonesia

The rattan ball used in Sepak Takraw.

Many traditional games are still preserved and popular in Indonesia, although western culture has influenced some parts of them. Among three hundred officially recognized Indonesian cultures, there are many kinds of traditional games: cockfighting in Bali, annual bull races in Madura, and stone jumping in Nias. Stone jumping involves leaping over a stone wall about up to 1.5 m high and was originally used to train warriors. Pencak Silat is another popular form of sport, which was influenced by Asian culture as a whole. Another form of national sport is sepak takraw.^[10] The rules are similar to volleyball: to keep the rattan ball in the air with the players' feet.
Popular modern sports in Indonesia played at the international level include association football and badminton. Indonesian badminton athletes have played in Indonesia Open Badminton Championship, All England Open Badminton Championships and many international events, including the Summer Olympics since badminton was made an Olympic sport in 1992. Rudy Hartono is a legendary Indonesian badminton player, who won All England titles seven times in a row (1968 through 1974). Indonesian teams have won the Thomas Cup (men's world team championship) thirteen of the twenty-two times that it has been contested since they entered the series in 1957.^[11] In the hugely internationally popular sport of soccer (football), Indonesian teams have been active in the Asian Football Confederation (AFC).
Sporting events in Indonesia are organised by the Indonesian National Sport Committee (KONI). The Committee, along with the government of Indonesia, have set a National Sports Day on every September 9 with "Sports for All" as the motto. Indonesia has hosted the Southeast Asian Games four times, in 1979, 1987, 1997 and 2011, and won overall champion title in each of these years. As of 2011, Indonesia has won champion titles 10 times overall out of 18 SEA Games it has attended since debuted in 1977.

Cuisine

Nasi goreng (fried rice), one of the most popular Indonesian dishes.

Soto and Satay, together with Nasi Goreng are considered as Indonesian national dish.

Main article: Cuisine of Indonesia

The cuisine of Indonesia has been influenced by Chinese culture and Indian culture, as well as by Western culture. However in return, Indonesian cuisine has also contributed to the cuisines of neighboring countries, notably Malaysia and Singapore, where Padang or Minangkabau cuisine from West Sumatra is very popular. Also Satay (Sate in Indonesian), which originated from Java, Madura, and Sumatra, has gained popularity as a street vendor food from Singapore to Thailand. In the fifteenth century, both the Portuguese and Arab traders arrived in Indonesia with the intention of trading for pepper and other spices. During the colonial era, immigrants from many different countries have arrived in Indonesia and brought different cultures as well as cuisines.
Most native Indonesians eat rice as the main dish, with a wide range of vegetables and meat as side dishes. However, in some parts of the country, such as Irian Jaya and Ambon, the majority of the people eat sago (a type of tapioca) and sweet potato.^[12]
The most important aspect of modern Indonesia cuisine is that food must be halal, conforming to Islamic food laws. Haraam, the opposite of halal, includes pork and alcoholic drinks. However, in some regions where there is significant non-Muslim population, non-halal food are also commonly served.
Indonesian dishes are usually spicy, using a wide range of chili peppers and spices. The most popular dishes include nasi goreng (fried rice), Satay, Nasi Padang (a dish of Minangkabau) and soy-based dishes, such as tofu and tempe. A unique characteristic of some Indonesian food is the application of spicy peanut sauce in their dishes, as a dressing for Gado-gado or Karedok (Indonesian style salad), or for seasoning grilled chicken satay. Another unique aspect of Indonesian cuisine is using terasi or belacan, a pungent shrimp paste in dishes of sambal oelek (hot pungent chili sauce). The sprinkling of fried shallots also gives a unique crisp texture to some Indonesian dishes.
Chinese and Indian cultures have influenced the serving of food and the types of spices used. It is very common to find Chinese food in Indonesia such as Dim Sum as well as noodles, and Indian cuisine such as Tandoori chicken. In addition, Western culture has significantly contributed to the extensive range of dishes. However, the dishes have been transformed to suit Indonesian people's tastes. For example, steaks are usually served with rice. Popular fast foods such as Kentucky Fried Chicken are served with rice instead of bread, and sambal (spicy sauce) instead of ketchup. Some Indonesian foods have been adopted by the Dutch, like Indonesian rice table or 'rijsttafel'.

Popular media

Cinema

Main article: Cinema of Indonesia

The largest chain of cinemas in Indonesia is 21Cineplex, which has cinemas spread throughout twenty-four cities on the major islands of Indonesia. Many smaller independent cinemas also exist.
In the 1980s, the film industry in Indonesia was at its peak, and dominated the cinemas in Indonesia with movies that have retained a high reputation, such as Catatan Si Boy and Blok M and actors like Onky Alexander, Meriam Bellina, Nike Ardilla and Paramitha Rusady.^[13] However, the film industry failed to continue its successes in the 1990s, when the number of movies produced decreased significantly, from 115 movies in 1990 to just 37 in 1993.^[14] As a result, most movies produced in the '90s contained adult themes. In addition, movies from Hollywood and Hong Kong started to dominate Indonesian cinema. The industry started to recover in the late 1990s, with the rise of independent directors and many new movies produced, such as Garin Nugroho's Cinta dalam Sepotong Roti, Riri Riza and Mira Lesmana's Petualangan Sherina and Arisan! by Nia Dinata.^[13] Another form of recovery is the re-establishment of the Indonesian Film Festival (FFI), inactive for twelve years, and the creation of the Jakarta International Film Festival. Daun di Atas Bantal (1998) received The Best Movie award in the 1998 Asia Pacific Film Festival in Taipei.^[15]

Television

Main article: Television in Indonesia

Radio

The state radio network Radio Republik Indonesia (RRI) was founded in 1945. It consists of a network of regional stations located in all thirty-three provinces of the archipelago. In most cities and large towns there are also many commercial stations. Since 2006, several digital radio stations have been based in Jakarta and Surabaya, using Digital Audio Broadcasting (DAB) and Hybrid HD-Radio.^[16][17][18]

Religion and philosophy

Main articles: Religion in Indonesia and Indonesian philosophy

Islam is Indonesia's main religion, with almost 88% of Indonesians declared Muslim according to the 2000 census,^[19] making Indonesia the most populous Muslim-majority nation in the world. The remaining population is 9% Christian (of which roughly two-thirds are Protestant with the remainder mainly Catholic, and a large minority Charismatic), 2% Hindu and 1% Buddhist.
The Pancasila, the statement of two principles which encapsulate the ideology of the Indonesian state, affirms that "The state shall be based on the belief in the one and only God".

See also

Indonesia portal

• Adat
• Demographics of Indonesia
• Tabuik

References

1. ^ UNESCO, Angklung was officially recognized on Nov 18, 2010 at the Fifth Unesco Inter-Governmental Committee meeting on Intangible Cultural Heritage in Nairobi, Kenya.
2. ^ UNESCO grants Indonesia's angklung cultural heritage title
3. ^ http://www.thejakartapost.com/news/2011/04/01/malaysia-clerics-ban-poco-poco-dance-muslims.html
4. ^ Hilda Soemantri, ed. Indonesian Heritage: Visual Art. Singapore: Didier Millet, 1998: p. 45-49.
5. ^ Hilda Soemantri, ed. Indonesian Heritage: Visual Art. Singapore: Didier Millet, 1998: p. 50-59
6. ^ Astri Wright, Soul, Spirit and Mountain, Preoccupations of Contemporary Indonesian Painters, Oxford University Press, 1994.
7. ^ High Quality Jepara Woodcarving, retrieved on Dec 5, 2010.
8. ^ UNESCO, Proclamation 2005: "The Indonesian Kris".
9. ^ http://malnavariations.blogspot.com/
10. ^ "Gajah Emas Game History - Sepak Raga"
11. ^ Uk on-line: sport
12. ^ Inside Indonesia 67
13. ^ ^{a b} Kompas http://www.kompas.com/kompas-cetak/0507/02/Bentara/1857854.htm
14. ^ Kondisi Perfilman di Indonesia
15. ^ http://www.imdb.com/Sections/Awards/Asia-Pacific_Film_Festival/
16. ^ http://radiomagonline.com/digital_radio_update/Digital_radio_update_062106/index.html
17. ^ http://radiomagonline.com/currents/weekly/radio_currents_061206/index.html
18. ^ http://radiomagonline.com/digital_radio/eye_iboc/continental_signs_hd_radio/index.html
19. ^ Indonesia—The World Factbook https://www.cia.gov/library/publications/the-world-factbook/geos/id.html