An Indonesian batik

BatikFrom Wikipedia, the free encyclopedia

Batik (Javanese pronunciation: [bate]; Indonesian: [batk]) is a technique of manual wax-resist dyeing applied to whole cloth, or cloth madeusing this technique. Batik is made either by drawing dots and lines of the resist with a spouted tool called a canting (IPA: [tanti], also spelled

tjanting), or by printing the resist with a copper stamp called a cap (IPA: [tap], also spelled tjap). The applied wax resists dyes and thereforeallows the artisan to color selectively by soaking the cloth in one color, removing the wax with boiling water, and repeating if multiple colors aredesired.

A tradition of making batik is found in various countries, including Nigeria, China, India, Malaysia,Philippines and Sri Lanka; the batik ofIndonesia, however, is the most well-known. Indonesian batik made in the island of Java has a long history of acculturation, with diverse patterns

influenced by a variety of cultures, and is the most developed in terms of pattern, technique, and the quality of workmanship.[1] On October2009, UNESCO designated Indonesian batik as a Masterpiece of Oral and Intangible Heritage of Humanity.

Contents

1 Etymology

2 History

3 Technique

4 Culture

4.1 Indonesia

4.1.1 Popularity

4.1.2 Terminology

4.1.3 Types

4.1.3.1 Javanese Batik

4.1.3.1.1 Inland Batik

4.1.3.1.2 Coastal Batik

4.1.3.2 Sundanese Batik

4.1.3.3 Sumatran Batik

4.1.3.4 Balinese Batik

4.2 Malaysia

4.3 India

4.4 Sri Lanka

4.5 China

4.6 Africa

Wax-resist dyed textile from

Niya (Tarim Basin), China.

Pattern of clothes of 13th

century East Javanese

Prajnaparamita statue

resembles batik.

5 Gallery

5.1 Indonesian batik

5.2 Batik processing

5.3 People wearing batik

6 See also

7 References

8 Sources

9 External links

Etymology

The word batik is Javanese in origin. It may either come from the Javanese word amba ('to write') and titik ('dot'), or may derive from a hypothetical Proto-Austronesian root *beCk('to tattoo'). The word is first recorded in English in the Encyclopdia 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 dyeing of fabric is an ancient art form. It already existed in Egypt in the 4th century BC, where it was used to wrap mummies; linen wassoaked in wax, and scratched using a stylus. In Asia, the technique was practiced in China during the Tang Dynasty (618-907 AD), and in India and

Japan during the Nara Period (645-794 AD). In Africa it was originally practiced by the Yoruba tribe in Nigeria, Soninke and Wolof in Senegal.[5]

These African version however, uses cassava starch or rice paste, or mud as a resist instead of beeswax.[6]

The art of batik is most highly developed in the island of Java in Indonesia. In Java, all the materials for the process are readily available cotton and

beeswax and plants from which different vegetable dyes are made.[7] Indonesian 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, the Dutch archaeologist J.L.A. Brandes and theIndonesian archaeologist F.A. Sutjipto believe Indonesian batik is a native tradition, since regions such as Toraja, Flores, Halmahera, and Papua, which

were not directly influenced by Hinduism, have an age-old tradition of batik making.[8]

Rouffaer reported that the gringsing pattern was already known by the 12th century in Kediri, East Java. He concluded that this delicate pattern couldbe created only by using the canting, an etching tool that holds a small reservoir of hot wax, and proposed that the canting was invented in Java around

that time.[8] The carving details of clothes worn by East Javanese Prajnaparamita statues from around the 13th century show intricate floral patterns

within rounded margins, similar to today's traditional Javanese jlamprang or ceplok batik motif.[9] The motif is thought to represent the lotus, a sacredflower in Hindu-Buddhist beliefs. This evidence suggests that intricate batik fabric patterns applied with the canting existed in 13th-century Java or even

earlier.[10]

Selection of cap copper printing

blocks with traditional batik patterns

Batik craftswomen in Java

drawing intricate patterns

using canting and wax that

are kept hot and liquid in a

heated small pan.

In Europe, the technique was described for the first time in the History of Java, published in London in 1817 by Stamford Raffles, who had been a British governor for the island. In 1873the Dutch merchant Van Rijckevorsel gave the pieces he collected during a trip to Indonesia to the ethnographic museum in Rotterdam. Today the Tropenmuseum houses the biggestcollection of Indonesian batik in the Netherlands. The Dutch and Chinese colonists were active in developing batik, particularly coastal batik, in the late colonial era. They introduced newpatterns as well as the use of the cap (copper block stamps) to mass-produce batiks. Displayed at the Exposition Universelle at Paris in 1900, the Indonesian batik impressed the public

and artists.[5]

In the 1920s, Javanese batik makers migrating to Malaya (now Malaysia) introduced the use of wax and copper blocks to its east coast.[11]

In Subsaharan 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 with

thicker lines and more colors. In the 1970s, batik was introduced to Australia, where aboriginal artists at Erna Bella have developed it as their own craft.[12]

Technique

Firstly, a cloth is washed, soaked and beaten with a large mallet. Patterns are drawn with pencil and laterredrawn using hot wax, usually made from a mixture of paraffin or bees wax, sometimes mixed with plantresins, which functions as a dye-resist. The wax can be applied with a variety of tools. A pen-like instrumentcalled a canting (IPA: [tanti], sometimes spelled with old Dutch orthography tjanting) is the most common.A canting is made from a small copper reservoir with a spout on a wooden handle. The reservoir holds theresist which flows through the spout, creating dots and lines as it moves. For larger patterns, a stiff brush may

be used.[13] Alternatively, a copper block stamp called a cap (IPA: [tap]; old spelling tjap) is used to cover

large areas more efficiently.[14]

After the cloth is dry, the resist is removed by scraping or boiling the cloth. The areas treated with resist keeptheir original color; when the resist is removed the contrast between the dyed and undyed areas forms the

pattern.[15] This process is repeated as many times as the number of colors desired.

The most traditional type of batik, called batik tulis (written batik), is drawn using only the canting. The cloth need to be drawn on both sides and

dipped in a dye bath three to four times. The whole process may take up to a year; it yields considerably finer patterns than stamped batik.[1]

Culture

Indonesia

Many Indonesian batik patterns are symbolic. Infants are carried in batik slings decorated with symbols designed to bring the child luck, and certain batik designs are reserved for brides

and bridegrooms, as well as their families.[16] Some designs are reserved for royalties, and even banned to be worn by commoners. Consequently, a person's rank could be determined by

the pattern of the batik he or she wore.[17][18]

Batik garments play a central role in certain Javanese rituals, such as the ceremonial casting of royal batik into a volcano. In the Javanese naloni mitoni 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.[19]

Contemporary men's batik

shirt in Solo style, sogan

color with lereng motif

In October 2009, UNESCO designated Indonesian batik as a Masterpiece of Oral and Intangible Heritage of Humanity. As part of the acknowledgment, UNESCO insisted that

Indonesia preserve its heritage.[16]

Popularity

The popularity of batik in Indonesia has varied. Historically, it was essential for ceremonial costumes and it was worn as part of a kebaya dress,commonly worn every day. The use of batik was already recorded in the 12th century, and the textile has become a strong source of identity for

Indonesians crossing religious, racial and cultural boundaries.[20]

Examples of Cultural influences on Batik Patterns and Motifs[21]

Cultural Influence Batik Pattern Geographic Location Sample

Native Indonesiankawung, ceplok, gringsing, parang, lereng, truntum, sekar jagad (combination of various motifs)and other decorative motifs of Java, Dayak, Batak, Papua, Riau, etc.

Respective areas

Hindu-Buddhistgaruda, banji, cuwiri, kalpataru, meru or gunungan, semen rama, pringgondani, sidha asih, sidhamukti, sidha luhur

Java

Islamic Arabic calligraphy, buraq Cirebon, Bengkulu, Jambi

Chinesefenghuang (Chinese phoenix), liong/naga (Chinese dragon), qilin, wadasan, megamendung, loktjan

Lasem, Cirebon, Tasikmalaya,Ciamis

Indian, Persian jlamprang, peacock, elephant Cirebon, Pekalongan, Madura

European (colonial era) buketan (floral bouquet), fairytale Java

Japanese cherry blossom, hokokai, chrysanthemum, butterfly Java

The batik industry of Java flourished from the late 1800s to early 1900s, but declined during the Japanese occupation of Indonesia.[1] It further declined after the Indonesianindependence, as people chose western clothes, decimating the batik industry. However, batik has somewhat revived at the turn of 21st century, through the efforts of Indonesian fashiondesigners to innovate batik by incorporating new colors, fabrics, and patterns. Batik has become a fashion item for many Indonesians, and may be seen on shirts, dresses, or scarves for

casual wear; it is a preferred replacement for jacket-and-tie at certain receptions. Traditional batik sarongs are still used in many occasions.[21]

An elderly Sundanese

woman wearing batik sarong

and headdress

Terminology of Indonesian batik

After the UNESCO recognition for Indonesian batik on 2 October 2009, the Indonesian administration asked Indonesians to wear batik on Fridays, and wearing batik every Friday has

been encouraged in government offices and private companies ever since.[22] 2 October is also celebrated as National Batik Day in Indonesia.[22] Batik had helped improve the smallbusiness 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.[23]

Batik is also popular in the neighboring countries of Singapore and Malaysia. It is produced in Malaysia with similar, but not identical, methods to thoseused in Indonesia. Prior to UNESCO's recognition and following the 2009 Pendet controversy, Indonesia and Malaysia disputed the ownership of batikculture. However, Dr Fiona Kerlogue of the Horniman museum argued that the Malaysian printed wax textiles, made for about a century, were quite a

different tradition from the "very fine" traditional Indonesian batiks produced for many centuries.[24]

Batik is featured in the national airline uniforms of the three countries, represented by batik prints worn by flight attendants of Singapore Airlines, GarudaIndonesia and Malaysian Airlines. The female uniform of Garuda Indonesia flight attendants is a modern interpretation of the Kartini style kebaya with

parang gondosuli motifs.[25][26]

Terminology

Batik is traditionally sold in 2.25-metre lengths used for kain panjang or sarong. It is worn bywrapping it around the hip, or made into a hat known as blangkon. The cloth can be filledcontinuously with a single pattern or divided into several sections.

Certain patterns are only used in certain sections of the cloth. For example, a row of isoscelestriangles, forming the pasung motif, as well as diagonal floral motifs called dhlorong, arecommonly used for the head. However, pasung and dhlorong are occasionally found in the

body. Other motifs such as buketan (flower bouquet) and birds are commonly used in either the head or the body.[1]

The head is a rectangular section of the cloth which is worn at the front. The head section can be at the middle of the cloth,

or placed at one or both ends. The papan inside of the head can be used to determined whether the cloth is kain panjang

or sarong.[1]

The body is the main part of the cloth, and is filled with a wide variety of patterns. The body can be divided into two alternating patterns and colors called pagi-sore ('dawn-dusk').

Brighter pattern are shown during the day, while darker pattern are shown in the evening. The alternating colors give the impression of two batik sets.[1]

Margins are often plain, but floral and lace-like patterns, as well as wavy lines described as a dragon are common in the area beside seret.[1]

Types

As each region has its own traditional pattern, batiks are commonly distinguished by the region they originated in, such as batik Solo, batik Pekalongan, and batik Madura. Batiks fromJava can be distinguished by their general pattern and colors into batik pedalaman (inland batik) or batik pesisir (coastal batik). Batiks which do not fall neatly into one of these twocategories are only referred to by their region.

Javanese Batik

Inland Batik

A typical inland batik has deep earth colors with various indigenous patterns (contemporary kain panjang with sidha pattern from Solo).

Inland batik or batik kraton (Javanese court batik) is the oldest form of batik tradition known in Java. Inland batik has earthy color[27] such as black, indigo, brown, and sogan (brown-yellow color made from the tree Peltophorum pterocarpum), sometimes against a white background, with symbolic patterns that are mostly free from outside influence. Certain patterns

are reserved for royalty, while other are worn on specific occasions. At a Javanese wedding for example, the bride wears specific patterns at each stage of the ceremony.[28] Noted inlandbatiks are produced in Solo and Jogjakarta, cities traditionally regarded as the center of Javanese culture. Batik Solo typically has sogan background and is preserved by the Susuhunan

and Mangkunegaran Court. Batik Jogja typically has white background and is preserved by the Yogyakarta Sultanate and Pakualaman Court.[19]

Coastal Batik

In contrast, a typical coastal batik has vibrant colors with patterns drawn from numerous cultures (kain panjang with lotus motifs from Semarang, 1880).

Coastal batik is produced in several areas of northern Java and Madura. In contrast to inland batik, coastal batiks have vibrant colors and patterns inspired by a wide range of cultures as

a consequence of maritime trading.[27] Recurring motifs include European flower bouquets, Chinese phoenix, and Persian peacocks.[16] Noted coastal batiks are produced in Pekalongan,

Cirebon, Lasem, Tuban, and Madura. Pekalongan has the most active batik industry.[1]

A notable sub-type of coastal batik called Jawa Hokokai is not attributed to a particular region. During the Japanese occupation of Indonesia in early 1940, the batik industry greatly

declined due to material shortages. The workshops funded by the Japanese however were able to produce extremely fine batiks called Jawa Hokokai.[1] Common motifs of Hokokaiincludes Japanese cherry blossoms, butterflies, and chrysanthemums.

Another coastal batik called tiga negeri (batik of three lands) is attributed to three regions: Lasem, Pekalongan, and Solo, where the batik would be dipped in red, blue, and sogan dyes

respectively. As of 1980, batik tiga negeri was only produced in one city.[1]

Sundanese Batik

Sundanese or Priangan Batik is the term for batik from the Priangan region of West Java and Banten.[29] Although Priangan batiks can use a wide range of colors, a preference for indigois seen in some of its variants. Natural indigo dye made from Indigofera is among the oldest known dyes in Java, and its local name tarum has lent its name to the Citarum river and theTarumanagara kingdom, which suggests that ancient West Java was once a major producer of natural indigo. Noted Priangan batik is produced in Ciamis, Garut, and Tasikmalaya. Other

traditions include Batik Kuningan influenced by batik Cirebon, batik Banten that developed quite independently, and an older tradition of batik Baduy.[30]

Batik Banten employs bright pastel colors and represents a revival of a lost art from the Sultanate of Banten, rediscovered through archaeological work during 20022004. Twelve motifs

from locations such as Surosowan and several other places have been identified.[31]

Batik Baduy only employs indigo color in shades ranged from bluish black to deep blue. It is traditionally worn as iket, a type of Sundanese headress similar to Balinese udeng, by Outer

Baduy people of Lebak Regency, Banten.[32]

Sumatran Batik

Trade relations between the Melayu Kingdom in Jambi and Javanese coastal cities have thrived since the 13th century. Therefore, coastal batik from northern Java probably influencedJambi. 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 batik Jambi. Batik

Jambi, as well as Javanese batik, influenced the Malaysian batik.[33]

The Minangkabau people also produce batik called batiak tanah liek (clay batik), which use clay as dye for the fabric. The fabric is immersed in clay for more than 1 day and later

designed with motifs of animal and flora.[34]

Balinese Batik

Batik making in the island of Bali is relatively new, but a fast-growing industry. Many patterns are inspired by local designs, which are favored by the local Balinese and domestic

tourists.[35] Objects from nature such as birds or fish, and daily activities such as ngaben processions or religious and mythological stories are common. Modern batik artists express

themselves freely in a wide range of subjects.[36]

Contemporary batik is not limited to traditional or ritual wearing in Bali. Some designers promote batik Bali as elegant fabric that can be used to make casual or formal cloth. Using high

class batik, like hand made batik tulis, can show social status.[36]

Malaysia

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 piecesof 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.[37][38]

The method of Malaysian batik making is different from those of Indonesian Javanese batik, the pattern being larger and simpler with only occasional use of the canting to create intricatepatterns. It relies heavily on brush painting to apply colors to fabrics. The colors also tend to be lighter and more vibrant than deep colored Javanese batik. 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.[39]

However, the butterfly theme is a common exception.

A batik craftsman making batik.

Malaysian batik are usually patterned

with floral motifs with light colouring.

A batik craftswoman brush painting

with wax in Kandy, Sri Lanka.

India

Indians are known to use resist method of printing designs on cotton fabrics, which can be traced back 2000 years. Initially, wax and even ricestarch were used for printing on fabrics. Until recently batik was made only for dresses and tailored garments, but modern batik is applied in

numerous items, such as murals, wall hangings, paintings, household linen, and scarves, with livelier and brighter patterns.[15] Contemporary batikmaking in India is also done by the Deaf women of Delhi, these women are fluent in Indian Sign Language and also work in other vocational

programs.[40]

Sri Lanka

Over the past century, batik making in Sri Lanka has become firmly established. The Sri Lankan batik industry is a small scale industry whichcan employ individual design talent and mainly deals with foreign customers for profit. It is now the most visible of the island's crafts with galleriesand factories, large and small, having sprung up in many tourist areas. Rows of small stalls selling batiks can be found all along Hikkaduwa's

Galle Road strip. Mahawewa, on the other hand, is famous for its batik factories.[41][42]

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 resistmethod for their traditional costumes. The traditional costumes are made up of decorative fabrics, which they achieve by pattern weaving andwax 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 forskirts, panels on jackets, aprons and baby carriers. Like the Javanese, their traditional patterns also contain symbolism, the patterns include the

dragon, phoenix, and flowers.[43]

Africa

In Africa, paste made from starch or mud is used as a resist instead of wax. The most developed resist-dyeing skills are to be found in Nigeria where the Yoruba make adire cloths. Twomethods of resist are used adire eleso which involves tied and stitched and adire eleko that uses starch paste. The paste is most often made from cassava starch, rice, and otheringredients boiled together to produce a smooth thick paste. The Yoruba of West Africa use cassava paste as a resist while the Soninke and Wolof people in Senegal uses rice paste. The

Bamana people of Mali use mud as a resist.[6]

Gallery

Indonesian batik

Sidho Mukti pattern.

Parang klithik patternfrom Solo.

Sidha Drajat patternfrom Solo.

Typical bright red colorin batik Lasem calledabang getih pithik(chicken blood red).

Head of a sarong fromBanyumas, circa 1880s.

Pasung or pucukrebung pattern, circa1800s.

Sarong from northernJava, circa 1900s.

Batik processing

Initial pattern drawn witha pencil.

Drawing patterns withwax using canting.

Various tools for makingbatik, canting is shownin the top.

Applying wax using cap(copper plate stamps).

A cap for applying hotwax.

Dyeing the cloth in color.

Dyeing the cloth in color.

People wearing batik

Bedhoyo dancers fromSolo.

A group of womanwearing colorful batiks.

Servants in KratonYogyakarta.

A Javanese menwearing typicalcontemporary batik shirt.

Studio portrait from thecourt of Yogyakarta.

Portrait of a woman insarong and kebaya withchild.

See also

Balinese textiles

Ikat

Madiba shirt

Malaysian batik

Sarong

Songket

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34. ^ "Pesona Batik Jambi" (http://lovejambi.com/inilah-sejarah-lengkap-batik-jambi.html) (in Indonesian). Padang Ekspres. 16 November 2008. Retrieved 2011-10-24.

35. ^ http://batikasliindonesia.blogdetik.com/

36. ^a b Bali Batik (http://www.balibatiku.com/balibatik.html)

37. ^ Dewan sastra (http://books.google.com/books?id=QYVkAAAAMAAJ). Dewan Bahasa dan Pustaka. 2001.

38. ^ Journal of the Malaysian Branch of the Royal Asiatic Society: 1952 (http://books.google.com/books?id=sZlhAAAAMAAJ). The Branch. 1953.

39. ^ Figural Representation in Islamic Art. (http://www.metmuseum.org/toah/hd/figs/hd_figs.htm)

40. ^ Burch, Susan; Kaferq, Alison (2010). Deaf and Disability Studies. Washington D.C: GU Press. p. 52. ISBN 1-56368-464-0.

^ "Sri Lankan Batik Textiles" (http://www.lanka.com/sri-lankan-batiks.html). Lakpura Travels. Retrieved 1 May 2014.

Look up batik inWiktionary, the freedictionary.

Wikimedia Commons hasmedia related to Batik.

Wikimedia Commons hasmedia related to Indonesianbatik.

Sources

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

Gillow, John; Dawson, Barry. (1995) Traditional Indonesian Textiles. Thames and Hudson. ISBN 0-500-27820-2

QuaChee & eM.K. (2005) Batik Inspirations: Featuring Top Batik Designers. ISBN 981-05-4447-2

Raffles, Sir Thomas Stamford. (1817) History of Java, , London.

Sumarsono, Hartono; Ishwara, Helen; Yahya, L.R. Supriyapto; Moeis, Xenia (2013). Benang Raja: Menyimpul Keelokan Batik Pesisir. Jakarta: Kepustakaan Populer

Gramedia. ISBN 978-979-9106-01-8.

Tirta, Iwan; Steen, Gareth L.; Urso, Deborah M.; Alisjahbana, Mario. (1996) "Batik: a play of lights and shades, Volume 1", Indonesia : Gaya Favorit. ISBN 979-515-313-7,

ISBN 978-979-515-313-9

Nadia Nava, Il batik - Ulissedizioni - 1991 ISBN 88-414-1016-7

SamuiBatik.com - Samui Batik (http://www.samuibatik.com,) (2010)

External links

UNESCO: Indonesian Batik, Representative of the Intangible Cultural Heritage of Humanity - 2009 (http://www.youtube.com/watch?

v=wylWYSHkzoQ)

Video tutorial about African batik (http://vimeo.com/51926896)

Early Indonesian textiles from three island cultures: Sumba, Toraja, Lampung

(http://libmma.contentdm.oclc.org/cdm/compoundobject/collection/p15324coll10/id/58864), exhibition catalog from Metropolitan

Museum of Art Libraries

Batik Banten. (http://www.kotaserang.com/2013/08/batik-banten-seni-budaya-lokal-yang-mendunia.html) On KotaSerang.Com

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Categories: Textile arts Indonesian clothing Masterpieces of the Oral and Intangible Heritage of Humanity National symbols of Indonesia Batik

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41. ^ "Sri Lankan Batik Textiles" (http://www.lanka.com/sri-lankan-batiks.html). Lakpura Travels. Retrieved 1 May 2014.

42. ^ Kannangara, Ananda (10 June 2012). "Brighter future for batik industry" (http://www.sundayobserver.lk/2012/06/10/fea05.asp). Sunday Observer (Sri Lanka). Retrieved 1 May 2014.

43. ^ Batik in China (http://www.batikguild.org.uk/historyChina.asp,) The Batik Guild, 1999

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