Batik Nyonyas and grandmothers blankets

This design was first done by Oeij Kok Sing, but made again by her daughter Jane Hendromartono, she included often tiny fish

First room in the exhibition ‘Batik Nyonyas’ highlighting batiks from the end of the 19th century, beginning 20th century made in Pekalongan

Build up of exhibition ‘TAMBAL’ at aNERDgallery

After a full week, I headed on 16 July to Singapore by bus for the weekend. Since I am making an small exhibition there that will open 22 August at aNERDgallery, I wanted to leave some of the stuff I already gathered & brought, there. Also to relax a little bit before going further and to finally see the Batik Nyonyas exhibition.

I arrived in after a quick busride and had a nice easy evening & morning. After some much needed social media updates, I headed out to aNERDgallery. Just to hang out and say hi. Also the artist Adel Ng was coming in to set-up the current exhibition, Tambal, inspired by the quilted blankets her grandmother made, the tambal motif in Batik & her own slow-fashion upcycle brand Muta Wear. She will be aNERDhost, while Tony is on Java, mostly with me. 

Adel Ng upcycle station at aNERDgallery 

Detail of quilted blanket of Adel Ng grandmother

In the early evening I headed to the Batik Nyonyas talk held at ACM, Modernity Unseen, The Free-Spirited Batiks of Nyonya
Oeij Soen King and Her Contemporaries from the North Coast of Java
I booked the bus a day earlier to catch this talk. When I found out the program, I knew I would be in my feelings. In my hurt feelings, but it was also very surprising!
The evening luckily also brought me to textile friends, which whom I had a nice dinner after with much to discuss on the talk & exhibition.

Peranakan Museum in Singapore

The fine mesh showing up on the photos,

 with a little creativity I was able to get okay photos

Next day I finally got to see the exhibition ‘Batik Nyonyas’. Made 800+ photos, normally it would be 100 or so, let’s say I felt really inspired. But also made so many because how it is displayed behind a very fine mesh makes it difficult to take pictures. Deliberate or to protect it, unclear, but I was pretty determined to get details. Who knows when these will be on display again and if I ever get acces to them.
The exhibition tells the story of three generations of batikproducers in Pekalongan on Java in Indonesia, Nyonya Oeij Soen King, her daughter-in-law Nyonya Oeij Kok Sing, and her granddaughter Jane Hendromartono. The first generation started at the end of the 19th century, while the third and last work until 1980’s. The batiks and other objects in the exhibition were kept by the three daughters of the last one. These daughters also provided extra information & stories, which is also shown in a video interview with them. This extra layer, with stories on production, preserverende and clear provenance makes this exhibition pretty unique. How wonderful I get to chance to actual visit. 
One of the earlier organized talks, was with them too. A much watch the video on Youtube ‘Three Nyonyas and an Esteemed Collaborator: Family Memories of Batik Making in Pekalongan’

The three daughters

Old photographs of the batikworkshop shared in the video

The first generation brings some confusion. The sisters say all were made by their greatgrandmother Nyonya Oeij Soen King, but she didn’t sign and all are very different (sounds familiar..). The choice, or belief, to present this pieces all by her, makes for a difficult story to tell. Previously research has been done on the cotton, colour & dye use to determine if one maker could be identified (and now..?). In the catalog was mentioned: 
“A common assumption is that an individual batik workshop would stick to a consistent dyeing practice that differed from other workshops. This was purported in a study by Proaño Gaibor et al., the first technical study of batiks, which concluded that Franquemont's batiks originated from different workshops because of the different dyes identified. However, the present study has shown otherwise.
By including signed batiks of different makers in comparison to Oeij's, the results revealed a wide range of cotton fabric and different dyestuffs for the reds of all four batik makers, without showing a systematic relationship to the maker.” 

Attributed to the first generation, Oeij Soen King

Photo-album gifted to Jasper with enlarged photograph of the ‘jaarmarkt’ exhibition behind it

Snowwhite batik detail, Batik signed by ‘L.Metz’

But my research was based on the specific story that the green used by Von Franquemont was her own unique invention, and therefor we researched all the colours including the green to find out they were all dyed differently, apart from the green that was done all the same in a not secret or special way, but with the oldest dye method known to create green in batik... (read full report here link ) So let’s say their conclusion on our study being wrong, and in fact we conclude the same, is so odd.
During the talk I attended the night before, the researchers explained they could not prove the batiks were made by one person or workshop. (Yes..). And did not claim they were all from the same maker. They also shared they misidentify their secret colour red and a new version of the catalog will be made. Hopefully they will rewrite their conclusion too, I hope.

Display on introduction of synthetic dyes to the batik industry

From Nyonya Oeij Kok Sin's album, 1940s-1950s

Sarongs by Nyonya Oeij Kok Sing and Jane Hendromartono, 

above signed by Jane in 1967, 

sarong below stamped by Oeij Kok Sing, 9 september 1941

For me the main question is, why go through all this afford to present these 18 batiks from one workshop? Wouldn’t it raise more interesting findings if the questions are, were are these batiks from? What are all the differences & what are the similarities? Was she indeed a batikmaker, or could some be her wardrobe or was she perhaps a reseller? I wonder right away, are there marks of wear, or details to link it to other pieces with a clear provenance. 
Anyway, the first section of the exhibition had for me very wonderful signed batiks including one with Snowwhite. It also has an album I would love to get my hands on, a photo-album gifted to Jasper in 1923 to celebrate his annual fair activities. Peter Lee shared some images during his talk and luckily some were used enlarged in the exhibition. Fascinating!

Two hangings with a depiction of Mai Langfang, a Chinese Peking opera artist playing the role of Tiannu Sanhua doing the sleeve dance, left batik by Jane, right by Oeij Kok Sing

Batik by Jane Hendromartono from early 1950's

Batik left signed by J. Jans, 1900's, Batik right signed 'Nj. Oeij Kok Sing P.K.L.' and stamped

In the ‘Batik Nyonyas’ exhibition I connected most to the Batiks from the 19th century, probably because my research is focussed on this period in batik history, but felt another kind of strong connection to Jane Hendromartono story.

Sketch by Jane Hendromartono

Display of the cap items Jane Hendromartono produced

Batik by Jane Hendromartono with little fish detail

The story of Jane Hendromartono is probably the most detailed, since her daughters could re-tell, and certainly the most artistic. Jane experimented a lot, to keep up with fashion trends, market demands and her own interests. 
It was nice that in this part we really get to know the maker, with early drawings, a childhood dairy in Dutch(!!), all kind of business items like stationary, cards. Jane also started producing cap next to her Batik Tulis pieces. The little cap that says ‘100% batik tulis’ took me out, technically the batik tulis would be 99,99% Batik Tulis if this tiny cap is used.
If her grandmother did make the variety the museum is claiming, Jane is indeed a testament to that story. 
I especially liked the 70’s ready to wear section, with maxi skirts & belts, I want all! Especially the skirt in aquagreen!

The exhibition is an amazing celebration of these three generations and a reflection on the history they were part of. A must see, open till 31 August in Singapore!

Read more here on the exhibition: Interview with Peter Lee | “Batik Nyonyas: Three Generations of Art and Entrepreneurship" — Art of The Ancestors | 

Island Southeast Asia, Oceania, and Global Tribal Art News

Hafiz showing his newly bought newly made chintz, including wax resist

Hafiz at aNERDstore heading out with his storytelling stuff

Hafiz Rashid's talk at One Punngolo

On Saturday I enjoyed a talk by Hafiz Rashid at One Punggolo about batik used as a medium for storytelling. Hafiz who is always dressed for the part of historical, fairytale & legends storyteller gave a presentation on the telling on stories to the writing down of stories. How in early books the text are highlighting to read out-loud. He used batiks from his own collection to invite the audience to do some storytelling themselves. It was really interesting to hear how they interpreted the batiks.

Currently I am on Java, I will update my blog & social media whenever I can & wifi allows me ;) ~ thank you for following my journey to Batik

Last acara* in Jakarta

Last program* in Jakarta

Ibu Ramini dyeing a Batik during the Batikworkshop 

on 25 November at Erasmus Huis

Singhasari statues at the National Gallery in Jakarta

Batik research workshop at Museum Batik

On the way home after what I could only call the perfect journey to Batik. It was so wonderful to have next the exhibition, which is in sorts an overview of the passed 14 years, a journey to all (most all) the places I have been in those 14 years together with Koen. The places where my journey begin, all the people, my batik family who I got to work with, learn from, help me so much and now got to spend time with together with Koen finally!

In the Botanic garden in Bogor

Our first full day on Java together, Friday 24 November, after Koen arrived and he saw ‘Masa depan Batik’ at Erasmus Huis, we spend in the Botanical garden in Bogor. Although it was very hot, and still is, you can walk there in the shade of the very old trees. It was funny to hear Koen reaction to the bees here, that are the size of perhaps a hummingbird. I remember reacting like that, only to find out that these flying giants never bother you.

In the evening Ibu Ramini and Tasya arrived from Lasem. The next day, on Saturday 25 November, Ibu Ramini would lead the Batikworkshop. It is so great I got to organise this. A real Batikworkshop given by a real batikmaker, and not anybody, Ibu Ramini of KUB Srikandi. The place that made me fall in love with Batik forever.

I asked Koen to join me at the end of my program, so he could join this workshop. It was so nice to have this extra time to hang out together. Ibu Ramini considered the workweekend as a real holiday, she said she loved how she has to do nothing, no household shores. And she is totally right, it is very luxueus to work in this way, at home I know all too well the struggle of trying to keep the house tidy while juggling multiple projects. But the big difference, me and Koen do it together, while for most women on Java they have to do everything alone. In Ibu Ramini case running a business while also running the household. 

Guidance by Ibu Ramini on how to use the canting

Tasya, Koen and Ibu Ramini

Lorod by Mas Edy

Ibu Ramini shared her knowledge on Batik with us on 25 November. The participants worked with the cantings she brought ~ from Pekalongan ~ while Museum Tekstil proved cantings from Solo. Also we worked with synthetic dyes. A react dye that first appears orange and turns green in the second bath, or first looks just wet and turns grayish blue. When mixing the two a very nice dark blueish green was made. Very different process from the natural Indigo we learned from Elisa of Jikaloka on 4 November. 

It was exciting in the morning because Ibu Ramini was not yet sure what colours it would give, but they turned out so beautiful. 

The workshop was again given in collaboration with Museum Tekstil with the amazing guidance of Ibu Yeni and Mas Edy. A wonderful collab! I am so happy we got to organise this at Erasmus Huis. 

Special thank you to Miss Tasya for joining Ibu Ramini on her journey to Jakarta & helping so much with the workshop. 

Koen made a great Batik. Ibu Ramini approved of his blocking skills! 

His Batik is a tribute to me: Batik ~ Baik ~ Bolk. How sweet is that!

Batik ~ Baik ~ Bolk by Koen de Wit

The Batikworkshop marked the official last scheduled program, but I had two more workshops to go on Monday.

On Sunday we had a relax morning, having breakfast the four of us, before Ibu Ramini and Tasya pulang {returned home}. Luckily this goodbye was not so heavy, since the sampai jumpa {see you later} was in two weeks.

In the afternoon me & Koen visited Museum Macan. Heard many positive things about this museum and seeing instastories on their recent exhibition ‘Voice Against Reason’ I had to see it.

The museum is located in what looks like a small mall or office building. A few escalators up, you arrive in a typical modern art museum space with a nice view on the city. I think depending on whats on show, makes the visit worthwhile. Good that this exhibition is amazing! It is still on show till 14-4-2024!

The exhibition had a diversity in mediums; sculpture, paintings, tapestries, video work and even a modern wayang of which we got to see the last live performance! The artworks were by new and older modern artists. 

‘Sirkus di Tanah Pengasingan: Oyong-oyong Ayang-ayang’ 

by Jumaadi and the Shadow Factory, 

using papercut & overhead projectors at Museum Macan

Video installation 'Perpetuity' (2023) by Nadiah Bamadhaj 

at Museum Macan

It still amazes me how being an artist here, and being in an Art collective, is so different from the Netherlands. Real collectives are rare, while in Indonesia it seems odd to work alone. Although I feel removed from the art-world in the Netherlands, on Java I feel my work fits really well within the art-world. How I work, together preferable, has always been a given. Here I am never asked What I make specifically as an artist, what I make is not being divided into certain fields. It is just what I make. 

It was therefore especially great to get the freedom to make ‘Masa depan Batik’ as I wanted, including the program, in Jakarta. 

Analog photo by Oxalis of Erasmus Huis of me with my Batik selfportrait

On Monday morning 27 November I got to give my Batik research workshop at Museum Batik. This brand new batik museum was officially opened last Hari Batik, 2 October, and I got to visit it last year already. 

Some of the people of museum joined my workshop at Erasmus Huis, and it was so great to get asked to give it at the museum. Not just for the Batik Museum, but other museums at Taman Mini Indonesia as well. It was also great that I got to take Koen to this museum. 

The workshop was really great again to do. The participants, especially the new generation, had smart questions, going beyond what I put on paper. So that made me very happy as you can imagine. 

In the previous posts ‘Pasar Batik & Batik Research Workshop at Erasmus Huis’  & ‘For the love of Batik’ I wrote more about this workshop and the reason behind it.

The museum is closed on Mondays but we & the participants got a tour from Mas Swa, the curator of the museum. Going first through the oldest history, the making of batik, we quickly reached the point where the influence in Batik is described. Mas Swa laughed nervously when reaching the display on European influence.

“I feel this is a test” he said before starting the explanation. The text sign still says ‘Batik Belanda’, but he nicely said, “we call this batik with an European influence”, and I asked “And no longer Batik Belanda?” And he said: “yes!”

Yeahh!! I explained shortly to the group why this name ‘Batik Belanda is wrong to use and that it is actual the name for imitation batik from Europe. 

I just want to say thank you again to Museum Batik! I hope we can keep on working & sharing together in the (near) future!

Batik research workshop at Museum Batik

Guided tour though Museum Batik by Mas Swa

The Green Batik Workshop at Erasmus Huis

Right after the workshop at the museum, we had to get in a Grab {taxi} to Erasmus Huis where the next workshop was about to start. 

The Green Batik Workshop: From Tradition To Innovation together with the Water Agency. 

A month before I met Carrina & Octi of The Water Agency together with Ivo of the Dutch embassy. Because of my exhibition, they wanted to see if we could do an event to share the project ‘Pekalongan Green Batik’ and also see if its event can maybe creates a continuation of the project.

The idea quickly arise to do a workshop, or idea sharing session, with people from the field. Not just to water management/improvement field, or the people from Pekalongan they met earlier with, but a wider group that can share about sustainability. Got to invite people from my own network I thought would love to dive in this topic and would be wonderful to have in a room together, not just any room, the library next to my exhibition. 

I was very honoured by who took the efford to join, some all the way from Yogya & Bandung, even Singapore.  Read more here Green batik workshop, a start for change

As for the future of Batik in Pekalongan when it comes to their problems with water, many ideas come on the table, but if the batik bosses in Pekalongan will do anything with it, remains the question. Also batik is not really the industry we should focus on when we talk about the water issues in this city. Read more in this post ‘How a red flood in Pekalongan reveals many issues, but blames Batik‘.

That being said, we do want, no we need to create safe workingspaces for pembatiks. If the water use is the batikworkshops could improve, or other parts could become more sustainable. For example the idea was shared to replacing wood burning for ‘lorod’ {boiling out the wax} with solar heating, a pretty simple solution which would work with that much sun. Yet investment is the main problem, where to get the budget for it if you are in reality just surviving day by day in this craft. 

I am sure there are many more ideas, and solutions out there. We just need people who want, can & will pionier in this field. Who is going to create the first sustainable batik village on Java? 

The Green Batik Workshop at Erasmus Huis

On 28 November both Nidi & Tony were at Erasmus Huis to update “our lab”. Me and Nidi worked on finding the ingredients, first in the text and later in the world. Tony translated the Javanese text in the booklet. We couldn’t find all ingredients for red yet and the brown turned out to be three different recipes, low ~ middle ~ and high Sogan. So we focussed on the brown for now, which Van Musschenbroek confusingly calls “red dyeing with Soga”. 

So in the Natural Dye Lab you will find the first translations, first test with Indigo and now also the ingredients for Soga. 

Tony, Nidi and I updating the Natural Dye Lab at Erasmus Huis

Natural Dye Recipe Project is a collaboration of Indonesian artist Nidi Kusmaya, curator Tony Sugiarta and Dutch artist and researcher Sabine Bolk that started during the pandemic in 2021. At Erasmus Huis we share the project for the first time in the Natural Dye Lab in the exhibition ‘Masa depan Batik.

Through this research-based textile project, Bolk, Kusmaya and Sugiarta aim to trace historical narratives and the connections through material exploration used in batik natural dyes. There is a knowledge gap in the technical execution and historical account of how natural dyes were used in batik in the past versus how they are used today. Due to limited records since the oral history has been lost, we depend on old writings often in Dutch. 

The starting point for this researchproject is therefor one of the oldest published dye recipe books in Dutch, ‘Iets over de inlandsche wijze van katoen-verven op Midden-Java’ (Something on the local way of Cotton dyeing on Central Java) by the Dutch Samuel Corneille Jean Wilhelm van Musschenbroek (1827 - 1883). The booklet was published in 1877 and was translated by Van Musschenbroek from a Javanese text which he doesn’t specify. He was based on Java as a civil servant and had an interest in local traditions. He also commissioned batik motifs drawn in wax on cardboard, so at least he was aware of the technique.

The text by Van Musschenbroek is translated by us to re-create the old recipes and find workable formulas. For Erasmus Huis we focus on three natural colours, namely blue, brown and red.

Before the exhibition opened, we prepared everything for Indigo. Nidi had a very busy program with two other exhibitions, but still created an amazing display with dye samples, materials & measuring tools.

We are planning to continue our project, in collaboration with pembatiks & textile dyers, hopefully next year!

Natural Dye Lab at Erasmus Huis

The last Jakarta activity before we continued our journey to Pekalongan, was a visit to the exhibition ‘Repatriasi: Kembalinya Saksi Bisu Peradaban Nusantara’. The exhibition is in honour of the returned objects from the Netherlands. The entrance was for the Singhasari statues that have been in Netherlands for 204 years. I saw them regularly in Leiden, where they marked the entrance of the Indonesia collection. The statues were mostly ignored, but when the news came they were finally going to go home, many people went to the museum to see them. I also said goodbye, or actually wished them ‘Selamat pulang’ a day or so before they would be packed and send on their journey. 

Seeing them so soon again was wonderful, but I am also sad they are still not really home. Now on display at the National Gallery, later perhaps on display at Museum Nasional, but when will they be on the ground they were actually taken from?

Only of the statues at the entrance you could take photos, or videos. Behind them were projections as if they were opening up a portal to another, previous world.

Inside were the pieces attributed to Diponegoro  and part of the “Lombok treasure” {Are we still calling it that?!? I read it in several articles and yes it was called that for the longest time in the Netherlands, but can we just say “Objects stolen from Lombok” or “Lombok loot? }. 

I might have seen most of these objects before, but here I really saw their beauty, their importance and above all the cruelty of stealing these objects. 

The exhibition was small, didn’t have much info, but it was great nevertheless to get to visit it!

Singhasari statues at the National Gallery in Jakarta

Finished & posted this blog back in the Netherlands. We returned home after a long trip from Lasem to Jakarta, from Jakarta to Amsterdam, to our final destination Utrecht. It is nice traveling back and seeing the places we have been, saying goodbye again.