Tour to Batik Belanda

Louise shows a batik that was worn by her grandmother

With my blog De reis naar Batik I write about Batik and other forms of art that interest me. Because my reach with blogging is limited, I try to come up with ideas to do more and different things with sharing my interest in Batik.
Louise Rahardjo, Assistant curator of Museum Nusantara, who I interviewed for De reis naar Batik (see Interview with Assistant curator of Museum Nusantara), told me she did a lot of research about the Batiks on display at the exhibition '"Sarongs van naam. Design in batik 1880-1940"' at Museum Nusantara in Delft. There was much more to be told then could be shown at the exhibition. I asked her if she wanted to give a guided tour sharing this information.

Batik with Chinese fairy-tail about a God riding a phoenix

On Thursday she give a tour at Museum Nusantara. I invited some people, we were with a small, but interested group. I'm planning to organize more of these kind of trips. Maybe in the future: "Batik daytrips in the Netherlands by the Journey to Batik tour operator!", but for now, if you are interested to learn more about Batik and live in the Netherlands, send me an email (see 'About me'). I will keep you up to date if I organize something like this again!

Batik from around 1890, signed by Wed. Jans, Pekalongan

Louise had some interesting intel about the Little Red Riding Hood Batik. The Batik is probable made around 1930. Cotton for Batik was imported from Twente, The Netherlands to the Dutch East Indies. The Dutch could maintain their position on the cotton market pretty good till the Second World War, but in the end of the First World War a difficult situation occurred. Due to submarine warfare the route to the Dutch East Indies was blocked for shipping. For a period only lower quality cotton was on the market in the Dutch East Indies. The Little Red Riding Hood is on a lower quality cotton than older examples of Batik Belanda, making it a 'newer' copy from after the 1920s.
Another nice detail, the Little Red Riding Hood batik was given as an engagement present. Little Red Riding Hood representing virginity and youth. For the wedding the peacock batik was given (see 'Opening "Sarongs van naam. Design in batik 1880-1940"') representing the the grown up (and full grown) women and the eternal fidelity of their love.

In this Batik a love poem is written. It appears to be written phonetic. At the time most Batik-makers were illiterate. They copied the text from handwritten papers which makes making mistakes or misspelling easy.
There are examples of misspelled names of important Batik entrepreneurs, also revealing copycats. Some important Batik entrepreneurs, like Eliza van Zuylen, only signed a Batik herself after she approved it.
When men had to leave for work (or to return to the Netherlands?) they gave this type of Batik to their sweetheart.

Detail with a phoenix

It was interesting to be at Museum Nusantara with different generations. Johanna and Corrie learned the names of all the islands of Indonesia on school. People had just returned from the Dutch East Indies and still believed they would return. Later our Indonesian history became the past, a sore past that was buried on attics and in basement.
Like Chester said, we have been in Indonesia for over 350 years. And not all was bad. Louise told us that now the younger generations unravel this history. She met with Rens Heringa, textile specialist and author of 'Fabric of Enchantment', who told her that she was receiving more requests by people asking to look at Batiks they found. Grandchildren find Batiks in boxes on the attics and in the basements of their grandparents who passed away. Not knowing about this heritage of us, they sometimes throw important parts of history away. Fortunately a lot of people know the way to places like the Tropenmuseum and Museum Nusantara to ask what it is they found. Batik Belanda is still pretty unknown in the Netherlands. Good thing more people are getting interested in this part of history, and not only people with Indonesian roots, but also the Belanda.

Do you want to learn more about Batik Belanda, the exhibition "Sarongs van naam. Design in batik 1880-1940" at Museum Nusantara in Delft will be prolonged till October. Louise Rahardjo, Assistant curator of Museum Nusantara, will give guided tours explaining more about Batik Belanda and the Batiks on display.
More information about the guided tour on www.nusantara-delft.nl (in Dutch and send an email to join the guided tour).

Also Louise Rahardjo will be giving a lecture about Batik Belanda on the Tong Tong Fair in Den Haag. On Monday 21st of May in the Bibit-Theater at 14.30h. It's going to be a Batikfull day at the Tong Tong Fair that monday with workshops making Batik and how to wear a Batik. There is an exhibition with photos of visitors showing their Batiks and the story behind it.
More information on www.tongtongfestival.nl.

The chicken and the egg

'La famille' by Ted van de Ven, 1952

Which came first, the chicken or the egg? The same can be asked about symbols, which came first the pattern or the name/meaning? The meaning of a symbol is closely related to the wearer of the fabric. Certain Batik patterns can not be worn by anyone. It is not only about expressing, but also about being allowed to express it. Your roots and your status determine if the Batik (or Vlisco) is suitable.

Vlisco were given and still are named by so called 'Mama Benz', women who sell Vlisco on markets and because of that they can afford their favorite car, a Mercedes Benz. These 'Mama Benz' provides the Vlisco's of names, giving it its status and market value. But the real meaning of the Vlisco is developed by the wearers. Giving women a voice to express their thoughts, their political views, their discomfort about a situation, without actually saying it.

"They can't arrest you for wearing a pretty dress"- quote from 'Wearing Proverbs' by Susan Domowitz

I first came across 'La famille' in the Online collection of the Tropenmuseum. What a great design and I was happy to see it at the exhibition 'Six Yards Guaranteed Dutch Design' at MMKA in Arnhem (till 7th of May!!).
I was surprised to see more than one 'chicken' designs. Apparently chicken are popular in both Indonesian Batik as African Batik.

Detail of 'La famille' by Ted van de Ven, 1952

Detail 'La famille' by Ted van de Ven, 1952

"The chicken (Gallus gallus domesticus) is a domesticated fowl, a subspecies of the Red Junglefowl. As one of the most common and widespread domestic animals, and with a population of more than 24 billion in 2003, there are more chickens in the world than any other species of bird."
There is still a lot of discussion about the origin of chicken. Most likely the first domesticated chicken are from India. "From India the domesticated fowl made its way to the Persianized kingdom of Lydia in western Asia Minor, and domestic fowl were imported to Greece by the fifth century BC. Fowl had been known in Egypt since the 18th Dynasty, with the "bird that gives birth every day" having come to Egypt from the land between Syria and Shinar, Babylonia, according to the annals of Tutmose III."*

Detail 'La famille' by Ted van de Ven, 1952

Different color print of 'La famille'

Chickens are important in Indonesia, as food, but also in rituals. This is probably why they are also found on many Batiks.
During the seventh month of a woman first pregnancy a feast of sacrifice, Tingkĕban, is held. After a ritual cleansing they let a chicken egg slide over the woman's body: Let the birth run as smoothly as the egg.
Also there is a lot of superstition surrounding chicken. A pregnant woman should not cut the meat of chicken, they believe it will harm, or disable the child.
Another one is that you should eat all the food on your plate otherwise your chicken will die (if you waste your food, you killed the chicken for nothing). If you don't have any chicken, someone else his chicken would die, which is even worse. In other places they said you should leave some food on your plate for the gods...
When I was in Indonesia William Kwan showed me what the patterns on a Batik from Pekalongan meant. It was full of unidentifiable forms for me. He explained to me that the pattern were parts of a chicken. Its wings, its comb, its beak, its claws. Chicken provide food, both in eggs as in meat. They give a family wealth. So by wearing a Batik with chicken on it, you hope to have good fortune or show that you already have.
In some Batiks only the wing is used as a pattern. In other ones the whole chicken is illustrated, abstract looking like a growing plant or more figurative. In others, like the one from Pekalongan, the chicken is shown in pieces.

In Africa the chicken on the Vlisco's have a different meaning. The Vlisco design 'La famille' (on the Gold Coast, in Ghana its called 'Happy Family') of a hen surrounded by eggs, chicks and roosters have two meanings. The first, for people unknown with the other meaning, the wearer says she is a devoted mother for her family. But the hidden message, only clear for those who know, is that the rooster, representing the husband, isn't capable to please the hen, wife, sexually. And that she is available for other men.
The design for 'La Famille' is from 1905 originally made by de Haarlemsche Katoenmaatschappij. In 1918 the design was added to Vlisco portfolio. It is still very popular and has been reprinted many times. Love to have a print for myself one day, with a different meaning to express!

'Village Molokai', Mari Althuizen, 1977

* from Wikipedia
** all photos are made by me at the exhibition 'Six Yards Guaranteed Dutch Design' at MMKA in Arnhem (NL)

Making notes

Koen and Surya at the entrance of 'Six Yards Guaranteed Dutch Design'

Sunday I finally went to the exhibtion 'Six Yards Guaranteed Dutch Design' at MMKA (till 7th of May) in Arnhem with Koen de Wit and his niece and upcoming artist Surya de Wit.
Great exhibition, but I didn't like the artworks. I think it was a bit easy, a bit related to our colonial history, but without making a point. I would rather have seen much more about Vlisco, history and now. I really missed the great marketing photos like the campaign 'Sparkling Grace' with Rodarte. The fashion designers who also made costumes for 'Black Swan', these dresses should have been there. I think, with all the Vlisco fans, who where there this Sunday and all the blogposts I came across these past weeks (see 'Berthi's Weblog' and 'Saskia's sporen'), about the exhibition, it should and it could have been more (or all) about Vlisco.

I made a lot of pictures, of course, and I decided to make three posts. First one is 'Making notes'. Pictures of details and handwritten notes on the sketches and designs. Great to see the process of Vlisco and to be so close to the creative part of it. Also the research part of Vlisco was shown with Sample books full of little pieces of fabrics and some really old, beautiful, pieces of Batik. These were apparently used when Vlisco first started. They formed the base for the imitation Batiks made for the Dutch East Indies.
Enjoy the pictures!

Notes on dessign * 'Fleurs de mariage' by Toon van de Manakker 1979

Dessign * '6 Bougies', 1940

*'Angelina', Toon van de Manakker, 1962

*'Village Molokai', Mari Althuizen, 1977

"Use the with red pencil outlines to make the fields, Drawing Room 367, 20-4-56"

Sample book

'Gingham'/checkered patterns sample book

Sample book

Part of Batik 'Batavia, 12-7-1862'

Batik sample

"For Batavia, Batik Ganah-Abang, 36/36 headscarf, v. Leeuwslonco (I think..)no. 296, 38/11 1862"

Batik sample

*Titles/names for the Vlisco's from the book 'Vlisco' by Jos Arts

Leaving a mark

From Vlisco campaign 'Nouvelle Histoire' 2011

For this post I would like to continue with the history of Vlisco and their designer Johan Jacobs. Leaving a mark is an important part of our history. We like to show off what we own and have many ways of doing so. Two nice ways of showing what we own are represented in the story of Vlisco: Wax Prints & Ex Libris by Johan Jacobs.

Vlisco, Wax Prints & Kente

From Vlisco campaign 'Tableau Vivant' 2010

Since 1946 the fabrics of Vlisco are a part of the African culture. The import to the Dutch East Indies stopped and the market for Vlisco fabrics shifted to West Africa. There are different theories why the Vlisco Wax Print become so popular in Africa.*
The batiks could have been introduced in West Africa by traders. On lists of the VOC the cargo in the 17th century already included batiks.
The popularity can also be explained by something that occurred in the middle of the 19th century. With the import of Javanese batiks, the trade of Indian Chintz was so disrupted that batiks where forbidden for a period of time in West Africa. Another theory involves Swiss missionaries.
The most used theory is that recruited soldiers from the Gold Coast for the KNIL introduced batik in West Africa. Between 1831 and 1872 3.000 soldiers were recruited. After their duty they returned to Africa bringing with them Indonesian Batiks.
Despite the different theories it is not clear if the introduction of Indonesian batiks in West Africa started the popularity of Vlisco Wax Prints.

West Africa had its own production of textiles. Through caravan routes import and export was done with The North of Africa, the Middle East and Asia. The trading peaked between the Middle Ages and the 19th century. Because traveling was expensive mostly luxurious goods where transported. Silks from China, woven cloths from Morocco and printed cotton from India.

'Asante omanhene (paramount chief) at a durbar'

Kumasi, Ashanti, 1980

Photo by R.A. Silverman

Owning a big collection of good quality textiles gave you a high social status in the 17th century on the Gold Coast. Also it provided a way of expressing oneself.
Similar to the Batik motifs that are meant for royal family of Kraton in Solo, Yogyakarta and Surabaya, a special woven cloth was worn last quarter of the 17th century by rulers in Ashanti (inland behind the Gold Coast). The patterns on the so called 'kentecloth' were given a symbolic meaning. Most likely traders started giving imported textiles names so the patterns would have a 'royal' status.

The Vlisco wax prints still represent luxury and wealth in Africa. By wearing Vlisco fabrics you show that you can spend money. Since 1963 the text 'real Dutch wax' is added to the fabric, on Sunday going to church women will show off this text clearly to show they are wearing real Vlisco textiles.**

'VL044161.06', Guaranteed Real Dutch Wax Block Print by Vlisco

The more fabrics a woman owns, the higher her social status is. There is even a special Vlisco design to show of how many pieces you own.  'Zoba zoba', meaning "pieces", contains the most popular and famous designs on one cloth. By wearing a 'Zoba zoba' you express that you own all these Vlisco's.
The rule with collecting fabrics is the older the fabric, the more value it has. When a old lady passes, her relatives show her fabric collection and share stories on when she received or wore each piece. The collection not only represent her status, but also shows her character.

Ex Libris by Johan Jacobs

In 1900 Johan Jacobs started his position as chief of the drawing room at Vlisco. Because of his function he came in touch with more higher positioned staff. And also outside of the Textilefactory he came in contact with in important group of the Helmonds society like lawyers, doctors, scientist and other educated people.***
In those circles reading was considered an intellectual activity and owning books was cherished.
The owners of a big collection of books, marked every book of his library with an Ex Libris, showing his pride.

"Ex Libris (also called bookplate) is a small printed label, placed on the inside of the frontcover of a book, bearing its owners name and a sign of personal identification. Derived from Latin the word means ‘from the books of’ and originated out of the need to indentify the books ownership. An exlibris represents a miniature art developed to adorn books and a individualized way for the book’s owner to be identified. Bookplates typically bear a name, motto, device, coat-of-arms, crest, badge, or any motif that relates to the owner of the book, or is requested by him from the artist or designer. The name of the owner usually follows an inscription such as "from the books of . . . " or "from the library of . . . ", or in Latin, ex libris ....Bookplates are important evidence for the provenance of books."

- From Wikipedia

Ex libris designs by Johan Jacobs

It became very populair beginning of the 20th century to mark your library with an Ex Libris. People also used Ex Libris to improve their social status.
Johan Jacobs started designing Ex Libris in 1907. The first one was for lawyer Kees Prinzen. The discipline was new for Jacobs and for his first assignment the influence by Arts and Crafts artist Walter Crane is very big.
After this design his Ex Libris became more authentic. With a Jugendstil decoration and his love for nature he made the Ex Libris really into small pieces of art. Using symbols and the occupation of the client to make a personal, yet professional mark to put in their library.

Sketch for Ex Libris by Johan Jacobs

See more Johan Jacobs Ex Libris here www.johanjacobs.nl


* From 'De introductie van de waxprint op de West-Afrikaanse textielmarkt' by Paul Ingebleek in Textielhistorische Bijdragen 38 (1998)
** From 'Van boerenzakdoek tot Afrikaanse mode' door Ingelies Vermeulen
*** From chapter 'Johan Jacobs; tekenaar pur sang' by Ger Jacobs in 'Johan Jacobs (1881 - 1955) designer, artist and trainer from Helmond'

Vlisco designer Johan Jacobs

Book 'Johan Jacobs (1881 - 1955) designer, artist and trainer from Helmond' on a Vlisco

Sunday I'm going to visit the Vlisco exhibition "Six Yards" at MMKA in Arnhem. I'm so looking forward to it and I planned to write some posts leading up to it. It's difficult, because the more I read, the more I find out I need to know more. And most importantly the more Batiks I would love to see. But I don't have a good excuse for seeing the Batiks. When I made an appointment to see the Batiks made by Maria Paulina Carp, I was preparing a lecture about 'My journey to Batik' and I knew that Maria Paulina Carp's granddaughter would be there.
My only excuse now is that I just really would love to see all Batiks in the depots made on Java and the ones made in the Netherlands during 1870 till 1920. I know there is already a lot written about Batik Belanda and I'm hoping to buy my own copy of 'Batik Belanda 1840-1940. Dutch Influence in Batik from Java. History and Stories' soon, so I can't really tell why I'm looking into this subject so much.
Maybe it's the philosophy behind the patterns (due to the Dutch influence I can read this type of Batik better and in the process I learn more about the original, authentic patterns used in Batik), maybe it is to find out why I'm fascinated by Batik and finding my Dutch roots, maybe because a 100 years ago Batik was of so much importance to the Dutch, for Dutch women living in the Dutch East Indies and for the Dutch art scene ("De Nieuwe Kunst", de Dutch Art Nouveau art scene based on William Morris Arts and Crafts movement), maybe because it inspires me to make new works.
So Vlisco, TextielMuseum, TropenMuseum & Wereldmuseum, if you read this, I don't know why yet, but I'd would love to see some of your Batiks someday!

Design for duvet by Johan Jacobs

For now, a short history of Vlisco and one of their designers: Johan Jacobs (1881-1955). We start in 1843. In that year Peter Sutorius, cotton printer, starts working together with Pieter Fentener van Vlissingen, a merchant from Amsterdam. In the early years of Vlisco, then called Vlissingen & Co, they mostly made handkerchiefs, blankets, furniture fabrics and chintzes. Around 1846 the designs where copied from designs from abroad, mostly from Paris, then made in Helmond and sold in the Dutch East Indies.

Design for handkerchief by Johan Jacobs

"The patterns on the Vlisco handkerchiefs (Vlisco is the only company in the Netherlands that still makes old-fashioned farmer's handkerchiefs) are always designed with the same base: 

a symmetric, not to busy, border around a center filled with sprinkle motives ('stooimotiefjes'), sometimes with a medallion in the middle. The patterns in the borders are mostly branches and garland, but also dots, flowers and geometric forms are used. Most of these motifs are from fabrics imported in the 17th century to Europe from the Far East like China (also ceramics), India (Chintz) and Persia (tapestry). Examples of these used patterns are stylized lotus flowers, palmette (based on a palm leaf) and the paisley-motif (curved drops: 'Bodeh', based on a date-palm. Looks also like the Garuda-wing used in Batik)."

- From 'Van boerenzakdoek tot Afrikaanse mode' door Ingelies Vermeulen 

Somewhere between 1846 - 1852 Vlisco started to export imitation batiks to the Dutch East indies. There was a great need for cheaper batik sarongs, slendangs and headscarves. An uncle of Pieter who worked there informed them of this need and helped with starting up the business. I think the Dutch frugality played a important role in this part of history. The motifs from the original Batiks where imitated including the typical craquelé.

In 1894 Pieter founded Vlisco's own drawing room, ending the copying of designs from abroad. He hired Dutch designer Michel Duco Crop (1863 - 1901) to make twenty designs for the factory. In 1896 Johan Jacobs became Michel Duco Crop's assistant and student.
Michiel Duco Crop (1863-1901) was one of the first Dutch industrial designers. He was greatly influenced by the English Arts and Crafts movement by William Morris (1834 –1896) and Walter Crane (1845-1915). Arts and Crafts was an international design movement that flourished between 1860 and 1910, especially in the second half of that period, continuing its influence until the 1930's. It was largely a reaction against the impoverished state of the decorative arts at the time and the conditions in which they were produced. It stood for traditional craftsmanship using simple forms and often applied medieval, romantic or folk styles of decoration. It advocated economic and social reform and has been said to be essentially anti-industrial.
From 1900 till 1951 Johan Jacobs is chief of the Vlisco drawing room.

In 1933 the trade with the Dutch East Indies stops. The Dutch East Indies close there borders for imitation batiks to create a better market for the Batikworkshops on Java. From then on Vlisco started to create a market in (West)Africa. The designs changed to fit this market.

Pages from 'Johan Jacobs (1881 - 1955) designer, artist and trainer from Helmond'. Left page design by Michel Duco Crop next to a design by Johan Jacobs. Right page two sketches by Johan Jacobs

'Two crows', woodcutprint by Johan Jacobs

When I visited Helmond with my mother (see blogpost 'Vlisco in Helmond') she bought me this wonderfull book about Johan Jacobs. I really would have loved to see the exhibition last year 'Johan - Made by Vlisco', but this book is a small consolation. This week I will try to post some more about Johan Jacob's carrier at Vlisco and his designs of Ex Libris.



More about Johan Jacobs (in Dutch) on www.johanjacobs.nl

More about Vlisco on www.vlisco.com

Batiks in Van Dis

Still from Episode 2 'Hollandse duinen'

Traveling is in our blood, in the Dutch blood and that of my family. Watching 'Van Dis in Indonesië' makes me homesick although I long to go back to a country I never felt at home, but I did feel totally myself there.
Why do the Dutch travel so much? We, the Dutch, who know that 'the grass always looks greener on the other side'. Do we just don't want to admit that we want to leave, because everywhere and nowhere is more exiting, thrilling, more meaningful than in our small country with its moderate weather, moderate landscape, moderate cuisine and moderate people?

Van Dis brings without compromise a painful history to light. But also the present life in Indonesia, in which poverty and division are bigger than ever, is brought into the Dutch living-rooms. He meets important people and dares to ask them high-risk questions but somehow he never steps on anyones toes. A great television program, learning & showing the Dutch what history we have and at the same time telling about daily life in Indonesia.

"Adriaan van Dis (Bergen aan Zee, 16 December 1946) is a Dutch author, with Indo (Eurasian) roots, residing in France. Van Dis debuted in 1983 with the novella Nathan Sid. In 1995 his book Indische Duinen (My fathers war), which in its narrative is a follow up to his debut novella, was also awarded several prestigious literary awards.
He is also known as the host of his own award winning television talkshow named Hier is... Adriaan van Dis, that lasted from 1983 to 1992 and several successful award winning television documentaries.
With the publication of his Indies inspired compilation book De Indie boeken (The Indies books) in 2012, Van Dis establishes himself as one of the most significant second generation authors of Dutch Indies literature.

His father was an Indies-Dutchman and his mother a farmer's daughter from Breda who had met each other in the Dutch East Indies after the War. By then his mother already had three daughters from her first marriage to a Royal Dutch East Indies Army KNIL officer of Indo-European descent. His father had been married before as well, in the East Indies. His family had been heavily affected by the Second World War and the subsequent Indonesian revolution."
- From Wikipedia

For 'De reis naar Batik' I made stills of the Batiks shown in 'Van Dis in Indonesië'. These stills are from episodes 2, 3, 5, 6 & 7. I couldn't pause the episodes without a big pause-button in the frame (I watch Van Dis online), so I made photos while playing the episode. Enjoy!

Still from Episode 2 'Hollandse duinen'

Still from Episode 3 'Soekarno's kinderen'

Still from Episode 5 'De economische erfenis'

Still from Episode 5 'De economische erfenis'

Still from Episode 5 'De economische erfenis'

Still from Episode 6 'Verloren Taal'

Still from Episode 6 'Verloren Taal'

Still from Episode 6 'Verloren Taal'

Still from Episode 7 'Het offer van Bali'

Still from Episode 7 'Het offer van Bali'

Still from Episode 7 'Het offer van Bali'

Still from Episode 7 'Het offer van Bali'

Still from Episode 7 'Het offer van Bali'

'Van Dis in Indonesie' every Sunday 20:25h on Nederland 2 (VPRO)