Abstract
According to Indonesian people's common sense, 'Batik' (traditional hand-painted hand-dyed
cloth) has been taken for granted as a natural fact that it is one representative of Indonesian
culture. This "natural fact" was further confirmed with the recognition from the UNESCO in 2009 :
Batik as one Intangible Cultural Heritage of Humanity. The recognition has crystallized 'Batik' as
national culture at the level of international institution, despite the fact that for decades, 'Batik'
industry in Indonesia had been facing serious deteriorating condition. Therefore, the year 2009
was not only important for Indonesian people's sense of 'Batik' as national identity, but also a
turning point for 'Batik' industry, not only just to survive and revive
This academic article started from the notion asserted by Wang (2004) who quoted Lofgreen
(1989) that national culture should be analyzed at three levels: an international cultural grammar
of nationhood, a specific national lexicon, and a dialect vocabulary. Based on the three level of
analysis. the authors of this article accept the argument of the importance of the first level, i.e.
the world-level institutional scripts for national culture, and that the recognition and
consumption of a nation cultural artefact at international level defines the sense of national
culture. In the case of 'Batik' in Indonesia, the world-level institution proved to trigger redefinition
of 'Batik' as national culture among Indonesian. However, post-UNESCO recognition of 'Batik' as
intangible cultural heritage, another important issue to be highlighted is how 'Batik' that has long
history as a high-art and representative of the noble's families, si then become one commodity
in Indonesian cultural industries, and how 'Batik' as a cultural industry is intertwining with cultural
policy. Taking the city of Pekalongan that historically has been one main producer of 'Batik', the
authors of this academic article borrow the shoulder of Hesmondalgh (2005), and attempt to
show the negotiating process between various agents involved ni the production of 'Batik' as high
art while also as cultural industry, resulting in a cultural policy for the revival of urban cultural
industry o f Pekalongan.
cloth) has been taken for granted as a natural fact that it is one representative of Indonesian
culture. This "natural fact" was further confirmed with the recognition from the UNESCO in 2009 :
Batik as one Intangible Cultural Heritage of Humanity. The recognition has crystallized 'Batik' as
national culture at the level of international institution, despite the fact that for decades, 'Batik'
industry in Indonesia had been facing serious deteriorating condition. Therefore, the year 2009
was not only important for Indonesian people's sense of 'Batik' as national identity, but also a
turning point for 'Batik' industry, not only just to survive and revive
This academic article started from the notion asserted by Wang (2004) who quoted Lofgreen
(1989) that national culture should be analyzed at three levels: an international cultural grammar
of nationhood, a specific national lexicon, and a dialect vocabulary. Based on the three level of
analysis. the authors of this article accept the argument of the importance of the first level, i.e.
the world-level institutional scripts for national culture, and that the recognition and
consumption of a nation cultural artefact at international level defines the sense of national
culture. In the case of 'Batik' in Indonesia, the world-level institution proved to trigger redefinition
of 'Batik' as national culture among Indonesian. However, post-UNESCO recognition of 'Batik' as
intangible cultural heritage, another important issue to be highlighted is how 'Batik' that has long
history as a high-art and representative of the noble's families, si then become one commodity
in Indonesian cultural industries, and how 'Batik' as a cultural industry is intertwining with cultural
policy. Taking the city of Pekalongan that historically has been one main producer of 'Batik', the
authors of this academic article borrow the shoulder of Hesmondalgh (2005), and attempt to
show the negotiating process between various agents involved ni the production of 'Batik' as high
art while also as cultural industry, resulting in a cultural policy for the revival of urban cultural
industry o f Pekalongan.
| Original language | English |
|---|---|
| Title of host publication | HTE 14* ASAI PACIFIC SOCIOLOGICAL ASOCIATION (APSA) CONFERENCE |
| Subtitle of host publication | GLOBALIZATION, MOBLITIY ANDBORDERS: CHALENGES ANDOPPORTUNITIESNI HTE ASIA-PACIFIC |
| Place of Publication | Hakone, Japan |
| Publication status | Published - 2018 |