I spy with my very Batik focussed eye

 

Batik Selfie, by me, 2023

at exhibition 'Verwevenheid' at Indonesia House Amsterdam

Digital collage to be part of the work of Philip Boas, 

made by Nina Boas for her 'Healing Batik project'

Since I came back from my own Batik exhibition 'Masa depan Batik' in Jakarta, there were also several exhibitions featuring batiks in the Netherlands. Some have already past, some are still on view and even some are still upcoming. So time for a little overview on what you might have missed or can still catch.

I first wanted to share a little on unexpected batik I came across. I am not only going to exhibitions to see batik of course, but it is extra fun when I come across it by surprise. In the fall of last year we went to the Tegelmuseum (Tile Museum) in Otterlo (NL), right under the nature park Veluwe. There was a small exhibition on the use of tiles with Art Nouveau. No clear batik inspiration to be found there, while batik, and Indonesian culture were certainly a mayor source of inspiration. Way in the back of the museum in the permanent display we stumbled upon this beauty, a little tile tableaux of a moth surrounded with two different batik borders. The painted pattern in brown and blue was also finely decorated with gold. This work, 'Fantasy Moth', was made in 1991 by Canadian-Indonesian artist Judith Ryan-Edwards van Muijen (1933-1996). 

'Fantasy Moth' by Judith Ryan-Edwards van Muijen (1933-1996), from 199. 

Collection Tegelmuseum inOtterlo

Watercolour of Prins Diponegoro from around 1880. 

Collection University Leiden

Another non-batik batik work that I like to share is an watercolour I saw in the exhibition 'Gordel van papier' (a wordplay on 'Gordel van smaragd' the nickname Multatuli gave to the Dutch East Indies) on the rise of the printed book in Indonesia. A great exhibition at Huis van het boek in Den Haag (NL) based on the book 'Met een drukpers de oceaan' Lisa Kuitert. 

The exhibition started with a room on how texts were written down and recorded before printing became the main way. This watercolour shows Prins Diponegoro reading or studying or meditating with a religious text written in Malay. The watercolour was 'found' in Bandung in 1892 and is currently in the collection of the University Leiden. I right away was drown to the motifs, not only on the sarongs they are wearing, but also the borders. Don't know why their is a naked enslaved child in the middle, apart from that it is great artwork. The artist is not known unfortunately. 

Tea cosy, batik on silk, by Ilse Stemmann, 1925-1930. Collection Textielmuseum Tilburg

In the exhibition 'Makers on materials' at Textielmuseum in Tilburg (NL), still on display till 3 November, is this tiny Batik Tea cosy cover from silk. A bit in the dark and behind "bars", this hidden gem totally sparked my (never really gone) interest in Dutch batikmakers. 

This artist, Ilse Stemmann (1890-1981) was born in Germany, but grew up in the Netherlands. She studied Batik at the Arts and crafts school (now art academy) in Haarlem in 1912. Oh what a time, to study Batik at school here!. Anyway, she kept making batiks, mostly smaller objects for homedecor and artworks. She even wrote articles on Batik. Gave lessons in Batik, which she advertised with stating she taught in the 'Javanese way' . She was as far as known active with Batik till the 1930's. I find it so fascinating that we have this whole history of batik artists in the Netherlands, but since it is is mostly women, it never really became part of the Art world we learn about. 

Textielmuseum has several pieces by Stemmann in their collection, you can see them online here: textielmuseum.nl/collectie/Stemmann

Textile display at 'De Grote Indonesië' exhibition at De Nieuwe Kerk in Amsterdam

When my own exhibition 'Masa depan Batik' opened on 21 October 2023, 'The big Indonesia exhibition' opened in De Nieuwe Kerk in Amsterdam (NL). When I returned in December, it was the first things I went to see. 

The exhibition was made after the idea of the big exhibition on Suriname in 2019. I thought that this exhibition did a great job of telling a multilayered story of all the communities that live in both Suriname and the Netherlands. So expectations for this exhibition were high. I was not involved in any of the making of the exhibition, but I knew a large amount of textiles were selected from the Wereldmusuem collections. When I was asked to give a quote on Batik to be added near the display of textiles, I asked for a list of objects. To my surprise another "influenced by" cliche selection was made with mainly textiles showing an European or Chinese influences. I started diving into many, from my side, very heated discussions on this lack of representations of what Batik is. I mean not even one tradition motif from Solo or Yogya was chosen. I don't know if this was the reason so little textile was eventually on display in the final exhibition and what was shown was crammed together in one display cabinet, but it was such a missed opportunity to not showcase Batik, or the rich textiles culture of Indonesia in a fuller, better, multilayered light.

Anyway, the quote became a text and then became an audiotour fragment with one Batik. This batik was in the display show half and behind a yellow pants. If I had known, I might have done a different explanation or story. So for those who listened to my audiotour and had no idea what batik I was referring to or who got curious, I share the batik, RV-300-1317, with the text I made for the audiotour:

Batik Tulis, RV-300-1317, Collection Wereldmuseum Leiden

There is more to see in this batik than the textboard description would suggest. This fabric came from the collection of the WereldMuseum Leiden and was classified in 1914 as ‘batik with a visible Chinese influence’ by museum director Hendrik Herman Juynboll. But what did he base this on?

Juynboll had just completed a long-term collaboration with researcher and self-proclaimed batik expert Gerret Pieter Rouffaer. Among other things, Rouffaer had written about the importance of red in batik made by the Peranakan Chinese community on Java, which is perhaps why Juynboll drew this conclusion. But what do we actually see on this batik?

Juynboll talks about seahorses and people, but if we look closely, do we see George on a dragon?

There are two other angel-like figures – one playing the harp, the other sitting on the dangerous beast. Maybe they are the Greek god Apollo, protector of the arts, although his weapon is a bow. And perhaps ‘George’ is instead his dragon-slaying predecessor, the Archangel Michael. That might make the others Gabriel and Raphael.

Archangels appear in Judaism, Christianity and Islam. The iconography of these figures has existed for centuries and you can always find several examples similar to the figure in the centre. Slaying dragons refers to the slaying of evil, even the devil. Could the playing cards depicted here and there be a subtle reference to gambling?

The playing cards were another reason to classify the batik as Chinese. Gambling was often linked to the Peranakan Chinese population in the former Dutch East Indies. But to attribute this batik to this group for that reason would of course be stereotyping. In Java, gambling and card games appeared in all walks of life.

The batik became part of the museum’s collection in 1878. It was probably made for the World Exhibition in Paris, to be exhibited rather than worn. 

That said, we don’t know for sure, nor do we know who made the batik in the first place. Unfortunately, it is often the case that the makers go unrecognised.

Another batik from the collection of the Wereldmuseum Amsterdam may have been made by the same people. That would suggest they were well known, although no effort was made to record their names.

Today, it is important to look at these collections critically. When and by whom was the collection recorded? Who made the Batik, and for what purpose?

'The Route' by Artist Elia Nurvista, 2024

 at Wereldmuseum Amsterdam

In the Wereldmuseum in Amsterdam (former Tropenmuseum) is an additional exhibition made to the exhibition 'Our Colonial Inheritance'. In the small exhibition 'Imprints' three artists are invited to show work reflecting on our colonial past. Artist Elia Nurvista shows works about the palm oil industry. In the work ‘The Route’ made in batik the story is told of the history of migration and displacement between palm oil and Dutch wax prints (imitation Batik). I was surprised about the quality of the Batik, although thick lined, the red and yellow are so bright and even coloured. When I shared photos in my stories on instagram, the artist Nurvista replied. I asked her about the Batik and she explained it was made by batikmakers in Yogyakarta. I wished they were credited too in the exhibition...

'Imprints' is on display till 6 January 2025

Batik WM-2036 shown together with a photo of Raden Ayu Danudireja (ca 1840-1880) and Raden Saleh (1811-1880) in Wereldmuseum Rotterdam

In Rotterdam at the Wereldmuseum the temporary exhibition 'Colonialism and Rotterdam' on display till 3 November. The exhibition doesn't hold many batiks, only two, but one is very exciting. I came across it when researching Elie van Rijkevorsel (1845-1928). 

Van Rijckevorsel donated a large amount of textiles from Indonesia that form one of the oldest collections of the museum. Because of it clear provenance, at least if we follow Van Rijckevorsel notes on it, the batik for me are an amazing insight in batik made around 1875. I saw several Batiks from his collection, but one was still on my wishlist, a batik (WM-2036) made by Raden Ayu Danudireja (ca 1840-1880), the wife of painter Raden Saleh (1811-1880). It is not known when Van Rijckevorsel got the batik, but he did visit Raden Saleh during his travels on Java. What I found most striking of this batik is that it is a great example of Batik from Jakarta. Although many books on batik will say Jakarta, or back then Batavia, did not have a Batik production, Van Rijckevorsel bought actually several pieces in Batavia. The only purchase in fact that he clearly mentions in his letters. I also came across other pieces stating to be from Batavia and all have the same, very specific use of colour. A very dark black with yellow, no white of the cotton is shown, combined with green, blue and red. Exactly like this piece. 

I noticed that now I looked at the information I have on this batik, WM-2036, both Van Rijckevorsel and Rouffaer do not mention Raden Ayu Danudireja as the maker. They just say 'Raden Saleh, motif'. Which can mean several things, but not necessarily the wife of Raden Saleh made it. There were two batiks in another exhibition held in 1901 that are attributed to a 'Raden Ajoe Saleh'. The owner states they came from her batikworkshop. So now I am wondering who actually attributed the batik from the Van Rijckevorsel collection to Raden Ayu Danudireja, if it is noted anywhere else clearly...oeps...I should have double checked the sources, but neither did the museum..again.

Box with batikol tools from DIY brand 'Emulation, 

WM-77454, Collection Wereldmuseum Rotterdam

The other batik related thing on display is at the end of the exhibition 'Kruispunt Rotterdam. A recently made acquisition of a selection of Batik DIY tools from the brand 'Emulation'. 

Quirien A. A. Krinen (1883-1845) and his wife Nellie Krinen-Surie (1887-1965) were the owners of Emulation, based in Weltevreden (near the former Batavia, nowadays Jakarta, ID). They developed a batik-method for silk that everyone could practice at home. Batikol, Emulation's liquid wax-emulsion, replaced the traditional wax and prevented the dye from bleeding into each other. This form of batik-making became a huge trend. At its peak in the 1920s, 17 different companies existed. These boxes were shipped to customers all over the world.

The box is shown together with on a screen textile examples of "batiks" made with this DIY box that were already in the collection. It is a fascinating history and I am the lucky owner myself of several dyes, textiles and info book from Emulation too.

In the exhibition 'Kruispunt Rotterdam' is a room on Indonesian textiles with many batiks. The batiks have been on display since it opened, so they need to be changed. Hopefully soon we learn more on which batiks will be shown there.

Screen with example of textile made with the Emulation DIY box

Work by Philip Boas at SBK Amsterdam

Detail of work by Philip Boas at SBK Amsterdam

In June I got an invite from an artist. Her text and (re)search inspired me right away while also left me with many questions:

Artist Nina Boas will be in residence at SBK Amsterdam. During this period, she will delve into the work of her father, Philip Boas, a Dutch artist whose batik-inspired work was acquired by various prominent Dutch museum and corporate collections in the 1980s and 90s. With her project ‘Healing Batik,’ Nina Boas investigates how intergenerational trauma, which influences her artistic practice through her father's work, fits into the current time when the cultural field is working hard on the decolonization of visual art. Important institutions are reassessing their colonial past and collections, where her father's work often lies stored in depots. Nina Boas' research focuses on new ways to deal with cultural heritage and traumas. How do we handle our colonial past and its impact on contemporary art? How can we revive forgotten or neglected artworks and tell their stories? And how do trauma and cultural heritage affect new generations of artists?

Research by Nina Boas on Philip Boas

Detail on work Philip Boas

Nina Boas in her residence space at SBK Amsterdam

I knew the work from Philip Boas from (again) the Textielmuseum in Tilburg. Very bright, almost pulsating textile works combining different mediums. The two works at the SBK Amsterdam were different, darker and heavier. I wondered if this might added to Nina's questions. 

I went to the last day of her residence to meet her and hear more about her journey and wishes. Her own quest as an artist, finding her own voice while also feeling connected to her father and his journey in Batik. I cannot do it justice here in a few words, but it interesting that it was all about Batik, yet Batik was just a vessel. In Philip Boas work the thick layers of paste that use to function as a resist were no longer removed, while Nina Boas made a digital collage in which you could be come part of the works surrounded by a canting, her father at work and batikmakers. 

Looking forward how her 'Healing Batik' project continues.

Batik Papua design by Pak Victor

at exhibition 'Verwevenheid' in Amsterdam

Last past exhibition I like to share in this blog is the exhibition 'Verwevenheid' (Interwoven) curated by Herra Pahlasari and Aminudin Siregar at the Indonesia House in Amsterdam. They brought together 27 artists that work with textiles in this group exhibition.

Of course there were several batik works in this exhibition, but there were also several wannabe batiks. Under the technique 'Tamarind Batik technique' were several textiles. Tamarind paste or also 'malam dingin' (cold wax)  should not be referred to as ‘Batik’ {only a hot wax resist can be called Batik}. I suggest calling it ‘Tamarind resist dye’. I wonder where this resist technique originates from. There are several types of pasted being used for resist dyeing, but never came across tamarind seeds before. 

Anyway, in this blogpost I will therefor only share the batik pieces from the exhibition.

Batik design made by Pak Victor, made into batik by batikmakers on Java. The design are Pak Victors answer or solution to the printed motifs that now are seen as 'Batik papua'. Based on the food culture of Sentani, Papua where Pak Victor is from.

Detail of Pak Vistor's Batik Papua design

'Support Your local organic farmer!' by Nadin Wielinga Varsovia

Batik, hand dyeing, thrifting, sewing machine, hand sewing

For more from this exhibition, please check out the digital catalog that was made: VERWEVENHEID | PDF to Flipbook

Did you spot any batiks in The Netherlands that I missed? Or you want to highlight an upcoming exhibition that feature batik, please comment below!

Zaman of the Batik influencer

 The era of the batik influencer is here!

Reel on how to recognise real batik vs (machine) printed imitations

by Roman.Muhtar

Since I started my blog I was dreaming of this, the influencer who promoted batik. I was never that much of a fashion girl myself and don not like the promotion of consumption that comes with the influencer life style, but I did posted on the fashion & started make ‘Batik Statements’ as a fun way to show how to style batik. {on the end of this post a reading list of fashion related blogpost I wrote}. 

Recreating styles from past eras

by Bev on her insta Odetoless

In the 15 years, hi old, I have been blogging, I saw fashion brands using batiks (for bad and good) come & go, but I never saw fashionista’s embracing it. And suddenly they are everywhere. Young Southeast Asian influencers wearing batik, or sarongs, posting on the technique with making of videos, doing photoshoots and sharing about the importance of Real Batik!

Berkain Bersama

Si kudul on her Insta tapi.aku.suka

In the category Fashionista’s we find the more classic fashionista, but with a sense of sustainability. A trend, as you will, that is luckily getting more attention, although the fast fashion haul are still very now happening. The more conscious consumer that steps into the world berjarik or berkain, wrapping a sarong, also steps into the production process. First what kind of sarongs are there? While Batik is a populair choice, the woven fabric options are endless. After the wrapping, starts usually the questions like: How was this cloth made, in what conditions, can I found a better/safer/more natural option? Even some start making themselves and start learning different techniques. This is the part that is often missing with the traditional, oldschool fashinista that mainly wants to get sponsorships from brands by selling stuff. They don’t seem to care where their cloths are from, apart from the brandname, or who made it for that matter, #whomademyclothes ! 

Si kudul on her Insta tapi.aku.suka

 Roman.Muhtar instagram

Ary Ogam on his Insta Instogam

Sarong Kebaya

In the category Vintage Batik Influencer or Sarong Kebaya wearers, there are several nice accounts to follow. This influencers do a mixture of cosplay & re-enactment while making it actual daily wear. They find vintage pieces online and in secondhand stores. They repair or even retailer or repurpose to make the outfits wearable again. Some visit locations like heritage sites, sometimes from colonial times, to make photos and videos, but most actual make a habit of wearing it daily. Promoting pre-loved fashion, mending & traditional heritage inspired looks. 

Bev on her insta Odetoless

Hafiz Rachid spotted by Orchard road fashion 

Suzanne Lim on her instagram

Batik Activists

I also have to include in this post the Batik educators, my fellow batik activists, who rock a batik sarong, shirt or other clothing item daily for a while now. 
For this category I like to mention my colleagues as you will. Yes, we wear batik for professional reasons, but most of us, me included, stopped wearing non-batik clothing, as in clothing that is not made out of batik. Why? Because batik is just the best!
For me personally, I am not wearing sarongs (yet), but mostly custom-made clothing from batik textiles, either Tulis or Cap. I have items made from Batik from Java, Madura, Malaysia, from brands in Singapore, even from Eswatini (formely known as Swaziland, my baobab batik leggings are from there). My wish is to own of every batik making place an item one day. Because wearing batik vs collecting it, actually keeps a heritage going.

Peni of insta Amazing peni, who run with her mother Ibu Indra in Jakarta Griya Peni

Tony Sugiarta of aNERDgallery

Photo made by me during aNERDgallery's Batik tour on Java

December 2023 at Museum Batik in Pekalongan

Me with my Batik sister Liesna of Galeri Liesna 

Photo made by Koen on our last evening in Jakarta

I surely haven’t mentioned all the kain wearing inspirations out there. Keep on showing us how it is done! Do you follow online any batik influencers or if you are one? Please share in a comment!

Keep on reading:

'Sometimes I wish I was a fashion blogger' blogpost from 2012
'Jakarta FashionWeek(end)' blogpost from 2016
'What Batik Statement are you making?' blogpost from 2018
'Taking Batik Online' blogpost from 2021
'Sarong on Screen' also from 2021
'Fashion, Malls and Friends' blogpost from 2023

My mama as my batik wrapping Model in 2016

My last blogpost I wrote on the day my mother passed. In between visiting her in the hospital, needing something to get my mind of things, only to have the worst thing happen. Minutes after I posted it, we got a call from the hospital it was not going well and we needed to come asap. That night she died...

Missing my mama a lot, and will miss her comments on my newly invented use of English ~ she never corrected it, while she worked as a translator Dutch-English. She would just say: “It made my laugh, but you don’t need to change it, it is written as you would think & speak and that is so nice about your writing”. Thank you mama for always supporting my journey in Batik. That’s why I know I should keep on blogging. 

Last part of our Batik journey

Dewi Sri Batik at Batik Winotosastro

Returning home I got to dive into several projects, which is great, but it left little time to catch up on my blog. Still would like to share the last part of the batik journey together with Koen, so ayo, let’s go!

On Monday 4 December 2023 me and Koen headed to the old city, Kota Lama, of Semarang. I wanted to visit some locations connected to other research I am doing and was curious how the city transformed further. It is interesting to see how the city deals with these colonial buildings and the history that goes with it. Although more and more buildings are being saved from collapsing over time, there is no information signs or anything like that anywhere. It might be helpful to give more context to these places. I heard it is very populair to visit and since information is available online, maybe the buildings can just be in the now and find a new purpose without always directly needing to know the past during the present. 

Renovated, next to not yet renovated, in Kota Lama of Semarang

H. Spiegel in 2011, photo from the blog ‘a Walk in Semarang’

Spiegel currently, 2023, the H is no longer present after the renovation 

At the second-hand store in Kota Lama of Semarang

My favourite part of revisiting the old city center was the big second-hand store right behind the church. Stalls filled with plates, lamps and nicknacks that wouldn’t look out of place in a similar store in the Netherlands. Many of the stalls sold old money, notes and coins. I had on my wish-list the banknote with a batikmaker on it. After going through several collections, I was ready to give up. I found on booklet from a batik festival held in 2005 in Pekalongan. Most names mentioned as being active in the “scene” are still dominating the field. When paying for it, the man pointed to the stall next to his, saying “more money”. I saw the folder and flipped through it. Couldn’t believe my luck, a little damaged and something written on it, but the ‘lima rupiah’ note from 1958 I was looking for was there. 

Lima rupiah note from 1958 & booklet from 2005, for my batik history collection

Koen posing in our hotel in Yogya next to the pembatik statue

The next day we headed to Yogyakarta. It has been a while since I was there. The last time was in 2019 and I only stayed on night. For sharing with Koen places important for my journey to Batik we had to visit this city and since Tony was staying there also it was great to go here next. 

After switching hotels in the middle of the night ~ that was less fun ~ we woke up in the formerly ‘Batik hotel’ which still had traces everywhere of this theme, in the form of curtains, coffee cups, even a statue of a pembatik and much more. 

In the morning on 6 December we headed to Taman Sari, the Water castle, not only a place that is a touristic must, but also {one of the places} where I learned to make Batik. In 2009 I followed a Batik course by Pak Hadjir, right next to the entrance of Taman Sari. As early as the seventies Pak Hadjir taught many foreigners to make Batik, including Rudolf Smend. 

His workshop is no longer, but it was still so great to show this spot to Koen. Inside Taman Sari we got the local de-tour-tourist-trap tour which included kopi luwak {or shit coffee} and several attempts to get us into a batikshop “of a friend”. 

Getting lost at Taman Sari

With Mas Tony & Mbak Putri in Yogyakarta

After our visit we went to meet Tony and Putri. She happened to be in Jogja for the filmfestival, so we got to see her too. She documented my openingsweekend ~ footage I will share at a later moment ~ and I hope we can work more together in the near future. After a lovely lunch with a croque Nyonya, we headed to visit Batik Winotosastro. 

Batik Winotosastro was the very first place I really learned about making batik. It was just days after my arrival in 2009 that I followed a workshop there under the guidance of Hani, which I found out much later is the boss of Batik Winotosastro. Next to enjoying the beautiful set-up batik space, we shopped, or I shopped. Two great batik pants and a Dewi Sri {goddess of fertility, creativity and rice} batik artwork! I always wanted a Dewi Sri, and having a batik version is just perfect. Although the large one on display was all our favourite, the smaller one was a little more affordable. 

Drawing the design onto cotton at Batik Winotosastro

Pembatik at work at Batik Winotosastro

Batik Cap being made at Batik Winotosastro

We also visited Lemari Lila, finally! It was on my wish list for so long. Her collaborations with Sekar Kawung and Jivaloka are great, inspiring and really what the textile world needs! Bought nothing myself this time, but Koen picked out an amazing blouse made from Batik Tuban. it reminds me of the wonderful research of Renske Heringa and the need to finally visit Tuban myself. Hopefully next time when I return to Java. 

From the Lemari Lila x Sekar Kawung collab

It was so nice to spend a day in Yogya with Koen, Tony and Putri. Have a little walk down memory lane reminiscences the very start of my journey to batik.

The next day, on 7 December, we went to Surakarta (Solo) for only one afternoon basically. It was actually such a nice visit and I never stayed in Solo before.

I really wanted to show Koen Museum Danar Hadi, that has been in many ways the starting point for the research I am doing.

We checked in to the Roemahkoe Heritage Hotel. This hotel was originally build in 1938 as a house by a wealthy batik merchant. A big house in Art Deco style with a secret back door leading right into Batik Laweyan, the batik neighborhood. It was turned into a hotel keeping the style of the building and beautiful details. If the hidden door remained we did not asked (yet).

Roemahkoe Heritage Hotel

After checking in, we rushed to the kraton. At the Mangkunegaran Palace was an exhibition on ‘Batik Keratanan’ {royal batik} and not just royal batik but specific motifs created by members of the royal family in Surakarta. I think it was the first time such a specific exhibition has been done at a kraton. I thought I missed it, but it turned out it got extended, after Tony was there a week earlier with his Batiktour. The exhibition showcased designs made by the royal family, so queens, princesses and even concubines. I never been a big Sogan fan {brown coloured batiks}, but I must say this exhibition might have changed my mind. There were stunning pieces on loan too from Iwan Tirta, including a huge Dodot Ageng {a ceremonial cloth used by dancers}. I loved that it is displaced like the ‘Tiga Negeri’ installation in my exhibition. The palace itself is stunning too, with a big greenhouse in the garden. It was already closing up when we finished looking at the exhibition, so we had no time to see the rest of the palace.

Dodot by Iwan Tirta at the Mangkunegaran Palace

One of the batikmakers from the royal family

Design by Iwan Tirta for the royal family

Batik exhibition at the Mangkunegaran Palace

We headed to Museum Danar Hadi. Wanted to meet curator Asti, but she had too many meetings that day. To our surprise she still came to meet us when we walked towards the entrance.  

We got a tour by Mbak Mutiara, in between Mas Gigih, also an excellent museumguide, dropped by to say hello. So nice to see him again. It was good to see again pieces that are part of my research and batiks of which I still need to {re~}tell their story. Mbak Mutiara has also questions for me, mostly fact checking things she heard from other researchers, which I loved. After the tour we met with Mbka Asti. So happy we got to see her and her team. They do great work maintaining an very important Batik collection! 

Our stay in Solo was too short, but so lovely. So I will plan a longer stay for next visit for sure, because I love to explore the Batik related heritages sites.

With curator Asti at Museum Danar Hadi

Are last stop before returning back to Jakarta to fly home, was the long awaited visit to Lasem. Koen was lucky to already meet Ibu Ramini and Mbak Tasya when he just arrived, but now we got to visit the places I probably talk about the most.

Although Lasem can be a stressful place too with many outsiders pushing many agendas, the people actually from this small city are always very welcoming. 

Taking Koen here was extra special. Taking him to the place it truly started. In 2009 I visited the batikworkshop KUB Srikandi for the first time and that visit marked  a > what I think will be a life long < love for Batik. Ibu Ramini asked us why we would spend our time going to a small desa like Jeruk, but it is these places that inspire me the most. Our visit was also practical since Ibu Ramini and her sister Ibu Juwariyah now have Instagram accounts thanks to Mbak tasya >>> Go follow them at @raminisrikandi & @juwariyahjeruk❣️

Koen posing next to the batiks on display at Batikworkshop Srikandi

Next to going to desa Jeruk got to spend precious time with Mbak Eka and Mbak Tasya. We were welcome every day at Mbak Eka’s home, the beautiful place that also houses her Batikworkshop Lumintu. We were spoiled by her so much. We had so much jummy food, also because they were afraid I would get sick again, but honestly we are missing the meals still every day. And it is not just the food. It is talking with Mbak Eka and Mbak Tasya, the moments with the pembatiks. 

I promised the year before I would cook for them all. Koen brought pasta with him, olive-oil and Italian spices, the rest we bought in Lasem. After everyone finally let me alone in the kitchen, except for Koen help that I needed, we made an Italian lunch for the pembatiks, Mbak Eka, Tasya and Ibu Ramini, Ibu Juwariyah and the grandchildren. Although it must have been kinda strange, they all tried the meal. I was just happy I got to make something, probably good for many stories at home, haha. 

Lasem

Mbak Eka, Mbak Tasya, statue of Raden Adjeng Kartini, me & Koen 

at the Kartini Museum in Rembang

The Gawangan, batik frame of Kartini

Our last day in the Rembang region we made a little roadtrip. I really wanted to go to the Kartini Museum and asked Mbak Eka and Tasya to join us. We started making plans and made the plan to also visit Raden Adjeng Kartini’s final resting place. In the morning I bought a bag of very fresh nice smelling melati and roses. 

We first stopped at the Tjoe An Kiong temple, the former red, now bright pink Chinese temple. The insight is so stunning, so many ornaments to look at all with important meaning, not just as decoration. 

Next stop was the Kartini Museum. I went there once before in 2016. It hadn’t changed much and still the same batiks are on display that have nothing to do with her. We were standing next to the gawangan, a bamboo batik frame, allegedly used by Kartini herself. Mbak Eka asked about it, and our guide quickly stopped using it to lean on. We laughed a little about the situation. Although the frame might not be really hers, the locaton, a tiled veranda would be a perfect spot to make batik. 

After the museum we headed to Raden Adjeng Kartini’s final resting place. It is still a hour drive, but I was so glad I could pay my respects and thank Kartini for the inspiration and guidance she brings on my batik journey. Me and Mbak Eka prepared the flowers and I got a woven basket to put them in. I asked everyone to put some of the flowers on her grave. When it was my turn suddenly a tokeh started with his call. Normally tokeh’s call at night, but I experienced something similar when visiting the Sultan’s wife’s grave at Imogiri. I take it as a good sign and smiled while continuing with the flowers. 

Since I bought a lot the keeper of the graveyard ask me if I wanted to gift flowers to others. I asked where Kartini’s child was. A smaller grave, right outside the gated area were Kartini’s and her husband other wife were buried. In the end I also brought him flowers.

We ended our perfect day at the beach, enjoying the sunset from a higher up place. 

It was lovely to end our journey here. We have been home since before Christmas, but this journey, the exhibition and all the amazing events and meets still fill up my mind and heart. I feel very thankful for finally getting to share this with Koen and for sharing my journey to Batik in an exhibition! 

Raden Adjeng Kartini’s final resting place

Groupphoto with the pembatiks of Batikworkshop Lumintu, 

we also got one with us all looking at the camera