Tjokrosuharto Arts & Crafts

1. THE EQUIPMENT TO MAKE BATIK CANTING

From time to time the process of making batik traditionally hasn’t changed much up to now. Looking at the forms and functions of batik equipments are very traditional and unique, suitable with the ways which are still traditional. The traditional batik equipment is a part of the traditional batik itself, because if the change is done by using modern machines, it will change the name of traditional batik into batik motive cloth. It shows that the way to make batik has a special characteristic with the result of the traditional batik art. If we see from the time and amounts produced, they are quite limited and the art creation from the canting drawing onto mori cloth which will produce the relatively expensive and valuable batik art.

A. Bandul Bandul is made from tin, or wood, or stone which is put in a pocket. the main function of bandul is to hold back the white cloth (mori) in which batik is being made in order not to move blown by the wind, or the pulling of batik maker by accident. But without bandul, the making of batik can be done.			C. Dingklik Dingklik is the seat of batik maker,the height is adjusted with the height of person sitting when making batik.
D. Gawangan Gawangan is made from wood or bamboo which is movable and strong. The function is to hang and spread out the mori cloth when batik will be made by using canting.
E. Wajan Wajan (frying pan) the equipment to melt “malam” (candle to make batik). Wajan is made from steel or loam. It’s better to have a handle in order to be easy to lift up or get down from the fire without using another equipment. Therefore wajan that is made from loam is better than that of from metal because the handle is not hot easily. But wajan from the loam is slower to heat “malam”.
F. Anglo (STOVE) Anglo is made from the loam, or another material. Anglo is fire equipment to melt “malam”. Stove is made from iron in which the wick is given. If using anglo,so the material to make the fire is charcoal from wood. If using fire wood, anglo is changed with “keren” : this keren is much used in the villages. Basically keren is the same with anglo, but it doesn’t have the upper layer.
G. Tepas (FAN) Tepas is not used if the fire uses a stove. Tepas is a tool to make the fire bigger depending on the need ; and is made from bamboo. Besides tepas, ilir is also used. Basically tepas and ilir are the same, only the form is different. Tepas’ form is square and pointed at one of the width and the handle is at the pointed part.

H. Taplak(TABLE CLOTH)
Its function is to cover and protect the batik maker’s tigh from the drop of malam (candle) from canting.

I. Kemplongan
Kemplongan is a tool made from wood of which form is like table and hammer and it’s used to soften the mori cloth before it’s given batik motive pattern and made.

J. Canting
Canting is a tool to draw or paint with malam candle drawing onto the mori. Canting determines the name of batik that will be produced to become drawing batik. This tool is made from the mixture of copper and wood or bamboo which is flexible and light.

Canting Can Be Differentiated Into Some Kinds :
	a. According to the function - Canting Reng-rengan Canting reng-rengan is used to make batik reng-rengan. Reng-rengan (ngengrengan) is first drawing according to the pattern before it’s done further. The person who makes batik reng-rengan is called ngengreng. The pattern is the drawing which is used as a model sample. Reng-rengan means framework. Usually canting reng-rengan is used especially to make its pattern framework, while isen or the content of the part in which batik is made uses canting isen according to the content of the part wanted. Batik from the result of taking the sample from the batik pattern framework or together with the content is called Polan. Canting reng-rengan has a singular and middle tip. -.Canting Isen Canting isen is canting to make the content, or to fill polan. Canting isen has either singular or double small tip.
	b. According to how big is the tip Canting can be differentiated into : - Small canting carat (tip) - Middle canting carat - Big canting carat

	c. According to the number of carat (tip) Canting can be differentiated into : - Canting cecekan. Canting cecekan has one tip, small, and is used to make small dots (Javanese : cecek). A person who makes dots by using canting cecekan is called “nyeceki”. Besides to make small dots for the content, canting cecekan is also used to make small lines. - Canting loron. Loron derives from the word loro which means two. This canting has double tips, up and down to make double lines. - Canting telon Telon is from the word three. It has three tips with the form triangle. If canting telon is used for making batik, so it will be seen triangle which is formed from three dots as a content.
	- Canting prapatan Prapatan is from the word four. So this canting has four tips, used for making four dots forming a square as a content. - Canting liman Liman means five. This canting has five tips to make a small rectangle which is made from four lines and one dot in the middle. -. Canting byok Canting byok is canting that has seven tips or more, used for forming a small circle containing dots ; a dot or more, according to the amounts of the tips, or how small or big the circle is. Canting byok usually has odd tips. -Canting renteng or galaran Galaran derives from the word galar, a bed made from bamboo which is formed horizontal. Renteng is a set of things in lines ; the way to arrange is by pricking. Canting galaran or renteng always has even tips ; four tips or more : maximally six tips, arranged from the bottom and up.

The Pictures of Canting Form

2. MORI CLOTHI
Mori is the main material of batik from cotton. The qualities of mori are various, and the kinds will determine the result of batik painting. Because the need of mori from some cloth is not the same, the following information might be useful :
1.The size of mori
	Mori which is needed is related to the length of cloth wanted. There is also a certain need like udheng or head cover. Udheng’s size can be more or less than the need ; therefore it cannot be used suitable with the common use. But cloth’s size is not certain. If short, it will influence the perfection of its usage ; if it’s longer, it will add the perfection in the usage.
	The way to measure is only to hold both corners of mori on the wide side and attach one of the corner to the length side across the width of mori. If you will take some kacu , so hold the corner of mori by using right and left hand by turns, attach the same length side by folding the mori.
2. The need of mori
	Dodot cloth (batik wraparound worn by courtiers and bridegrooms) needs 7 kacu of mori. Dodot cloth is usually used by the Royal family or the classic dancers. But because the price is expensive, so the function of dodot cloth is replaced with the common and long cloth. The side cloth needs 2 or 2,5 kacu, according to the desire or the size of the user. Udheng needs one kacu of mori. There are two kinds of udheng; “udheng lembaran” ( head cover cloth in sheet form) and “udheng jadi” ( finished head cover). The finished head cover (udheng jadi) is already formed, so the person uses it directly. Actually it just needs a half kacu of cloth, and cuts it diagonally. While “udheng lembaran” ( head cover in a sheet form) is formed when using it on the head of the user. After he finishes, it is taken off again. The last udheng needs one kacu of mori ; but practically it can be just a half kacu, another half is folded inside only as a thickness. Therefore udheng lembaran’s batik can be made based on two kinds of batik motive with one of the edges is diagonal. In term of udheng , the user is free to choose which motives will be put outside.

3. Processing mori before being made into batik
Before being made into batik, mori has to be processed first. The good processing will determine the good cloth. The processing of mori is as follow : Mori that has been cut is folded. Folded here means sewn at the cutting in order that “pakan” thread doesn’t lose. Benang pakan (“pakan” thread) is thread that crosses on the weaving. After being folded , then it is washed with water until clean. If mori is dirty, so the dirt will retain the absorption of candle liquid (malam material to make batik) and retain the colour liquid in the process of washing. In Yogyakarta and Surakarta mori is sun-dried until it’s dry after being washed. But in Blora (Central Java), after being washed, then mori is boiled.
After wantu is hot, clean mori is put inside. The way to put mori inside wantu, starts from the edge up to the end in order. The boiling takes a few minutes. Then mori is lifted and washed to release the dirt when it is boiled. After being washed, then it needs to be dried. Mori gets soft; then it is hardened with kanji. The material of kanji is from rice. In Blora, any rice is used as long as it is white. Rice is put in the water for a few minutes ; then rice together with its water are boiled. Its water is taken and called tajin. The dry mori is put inside tajin all over ; without being pressed, it is directly dried, and finally becomes stiff. After mori is damp, then it is hit on the certain place with a certain way , in order that the thread becomes loose and limp, so the candle liquid can be absorbed. The hitting is called “dikemplong”.

		After being hit (dikemplong), we can determine the batik motive wanted. If we want parang-parangan motive, or another motive that needs a certain shape, so lines must be made on mori first. The function of puting lines is to determine the motive place in order to be tidy. An expert batik maker doesn’t use the lining. The small or big of the line isn’t same, depending on the batik motive planning. Usually the wood ruler shapes rectangle.

The way to move the wood ruler after the first to the second line is by turning around, without lifting it. So the width of the space between the lines is determined by the amounts of the wood ruler turning. Mori in which semen motive batik will be made, doesn’t needs to be lined, directly doubled with the pattern on the mori face vice versa. After all finish, so the batik making process can be started.

3. CANDLE (“MALAM”)
Candle or “malam” is the material used to make batik. Actually “malam” isn’t used up (lost), because finally it will taken back in the washing process,the making process till becoming batik cloth. In term of “malam”, it can be explained as follows :
	1. The Kinds of Malam and Its Mixture
	“Malam” that is used for making batik has various types. The quality affects on the absorption power, color that can affect mori color , the softnes of the liquid, etc. Therefore, its prices are different one another. But in our usage, it depends on the need. The types of “malam” are :
		“Malam Tawon” (bee) is “malam” that is taken from bee nest (tolo tawon). Tolo tawon is separated from the eggs by boiling them.
		“Malam Klanceng” is “malam” from the nest of Klanceng bee, and taken by the same way above.
		“Malam Timur” is the best “malam”. This type hasn’t been known about the material.
		“Malam Sedang”(middle malam) the material and origin hasn’t been known.
		“Malam Putih” (white malam) taken from latung oil made in factory.
		“Malam Kuning” (yellow malam) taken from latung oil made in factory.
		“Malam Songkal” taken from latung oil made in factory. Its color is black and only for mixture.
		Keplak is the mixture material.
		Gandarukem is the mixture material.

	2. The Mixing Way of Malam
	The rule to mix malam is as follows: White malam as many as 100 pieces of cent coins (cent money in Dutch period) with black malam (sangkal) 50 pieces of cent coins, and “Malam Klanceng” 50 pieces of cent coins. or “Malam Timur” 100 pieces of cent coins with “malam” from the used batik that has got “wedelan” as many as 50 pieces of cent coins, and malam klanceng 50 pieces of cent coins.

4. THE BATIK PROCESS
	Mori that has been hit (dikemplongi) and lined, if it will be made in parang-parangan batik motive or the other motives which need a certain shape and straight, it is usually made without using the pattern (dirujak). The person who makes this batikan is called “ngrujak”. She is already an expert. But for the beginner or learner usually just “nerusi” or “ngisen-ngiseni” (to continue or to fill). While making batik by using pattern has been explained before. Both making batik rujak and making batik using the pattern are usually done by the experts, because the beginning level is the determination how good the batik form as the whole is.

1. The Preparation of Making Batik
	a.	Keren, or anglo (fire tool) and frying pan containing “malam” must be prepared to start making batik. “Malam” must be in good liquid. In order to get out through canting tip well; besides that malam can be absorbed well into mori. The fire in the anglo or keren should be kept burning, but cannot flame, because it is dangerous iflicking malam inside the frying pan.
	b.	Mori that has been prepared must be on gawangan near anglo or keren. The maker sits between gawangan and keren or anglo. Gawangan stands the left side and keren on the right side of the maker. The person whose job is making batik is called “pengobeng”.
	c.	After all are ready, the maker starts her work. First holding canting. The way to hold canting is different from holding a pen, or pencil to write. The difference is caused by the top of canting tip has curve form and big pipe, while pen or pencil are straight. Holding canting is with top thumb, pointed finger, and middle finger like holding a pencil to write, but the canting handle is horizontal while pencil to write is leaning.That position of canting like that is to keep malam in the container not to be spilled.
	d.	With the canting, the maker (pengobeng) takes the boiling malam in the frying pan, then making batik on the mori. Before it is made, canting is blown first, the way to blow also uses a certain rule, in order that malam inside the container/nyamplungan not to be spilled on the maker’s lips. Canting which is blown is meant:

	1.	To return malam liquid back to the tip inside container (nyamplungan), in order not to drop before the tip of canting is attached on the mori.
	2.	To vanish malam liquid that wets the canting tip ; because the canting tip that smeared with malam liquid will reduce the quality of scratch, especially when canting is first processed on the mori.
	3.	To control the canting tip from the possibility of being clogged up by the dirt of malam. If it is clogged up, so the liquid inside the container (nyamplungan) doesn’t sound, because the air cannot enter. So the hole of the point tip is pricked using ijuk, or coconut coarse till it enters along the tip. Usually after being pricked, it’s blown again, or directly made on the mori. The specialty of pricking is using the left hand with a certain way quickly.
	4.	Canting in a good condition is then, scratched on the mori. The left hand is on the other side of mori, as a basis of mori that is being scratched by canting. If malam liquid inside the container is used up, or doesn’t run well, perhaps because of the coldness, so malam should put back into the frying pan ; canting is dipped up to malam liquid in the frying pan. The return of cold malam liquid doesn’t have a big effect to malam in the frying pan. It is done till the end, and includes covering the certain parts with malam.(nemboki).

2. The Steps of Making Batik
The steps of making batik on the mori must be done step by step. Each step can be done by different person but a piece of mori cannot be done by different person in the same time. Those steps are:
	a. Making the framework
		Making the framework by using the pattern is called “mola”, while without the pattern is called “ngrujak”. Mori in which batik is already made in the form of framework, either after using the pattern or “ngrujak” is called “batik kosongan”, or “klowongan”. Canting that is used is middle tip canting (canting cucuk sedang), that is also called canting klowongan.
	b. ngisen-iseni
		Ngisen-iseni is from the word “isi” (content). So it means to give content or to fill.Ngisen-iseni by using small tip canting is also called “canting isen” which is various. But a piece of mori doesn’t always use all kinds of canting isen, but depending on the motive that will be made. For instance it needs various kinds of canting isen because of the variety. But making batik must be one by one, and each part must be finished before another part is done with another canting, for example “nyeceki” (making motive consisting of dots), this part should be finished all.
		The activity of doing the parts has its own name ; the name is based on the canting name used. The process of giving the name is by changing the canting name into verb, while the result of the work is taken from the name of canting used. The names are: nyeceki, that is using canting cecekan, the result is cecekan. Neloni is using canting talon, the result is called telon. Mrapati is using canting prapatan, etc. But using canting galaran or canting renteng, is always called ngalari, and never called “ngrentengi”; while the result is always called “galaran”, never called“rentengan”. The way to use canting from one type to another has many advantages. The first is canting can be used in turn for a group of “pengobeng” (makers of different work), they have different step of work. The second advantage is to reduce the numbersof canting in the same type, although the members of makers are many. If twopersons want to use the same canting at the same time, while there is only one canting, so one of them can delay it and change another work with differentcanting.Batik with complete content is called “reng-rengan”. Because the name isreng-rengan so the maker who makes since the first time till the end is called “ngengreng”. So“ngengrengan” is the unity of motive from the whole wanted. That’s the first finishing.
	c. Nerusi
		Nerusi is the second finishing. Batikan in the form of ngengrengan is then, turned the surface, and made again on the second surface. Making nerusi is making batik which follows the first batikan motive on the track of pricking. Nerusi is the same with mola and the first batikan process functions as pattern. Its canting is used the same with that of for ngengreng nerusi especially to thicken the pricking of the first batikan making process and also to clear the finish batikan at this stage. It is still called “ngengrengan”. The maker (pengobeng) who makes from the first till finishes nerusi is called “ngengreng”.
	d. Nembok
		A batik is not all given color, or will be given various colors at the finishing to be cloth. So, the parts that will not be given color, or will be given color after other parts must be covered with malam. The way to cover it is the same with making batikan at other parts by using canting tembokan. Canting tembokan has a big tip. The doer is called “Nembok” or “Nemboki” and the result is called “tembokan”. The parts that will be covered with malam usually among the main motives. Nembok usually uses the low quality of malam. Although malam is full with dirt, but canting that has big tip doesn’t have a problem. Besides that, covered parts are big and thick enough, so the bad malam used to cover can be overcome.
		Basically, malam functions are toform motives, to cover the stages of giving color into the cloth, in which actually color is to form batik motive. Nembok is only in the front face of mori.
	e. Bliriki

			Bliriki is to continue the covering (nemboki) so that the some certain parts are really covered. Bliriki uses canting tembokan and the way is the same as nemboki. If the last stage has finished, it means that the process finishes as well. The result of bliriki is called “blirikan”, but it is rarely called like that, usually called “tembokan”. Actually making batik is called finish if the last process finishes; or if the batik doesn’t need covering, so batik finishes before covering. Long time ago in Surakarta, after the stages finish, batikan was dried till “malam” almost melt.
		Drying was meant in order that candle in mori wasn’t easily lost. Because “malam” (boiled) when it was used to make batik and stick with cold mori would freeze suddenly because of the quick process. The freezing of malam like this is not good, because batikan is sometimes broken, and malam is lost easily.
			But if it is dried, the heating process will happen throughout, and mori is also heated. Mori that gets sunlight will expand and can absorb. The expanding process strengthen the sticking of malam that starts to melt; before it is melt, batikan should be lifted carefully in the cool place. In the cool place, batikan will freeze throughout.
		This cooling process has an advantage, because between mori and malam strengthen the sticking each other. Then the batikan work is done.

5. MBABAR
Mbabar is the finishing process from batikan to be cloth. After batikan is really covered, we come to the next work, that is to process it to be cloth. In some areas, the way to do mbabar is basically the same.
The difference is only the comparison of the material used. There is one area in which the comparison of the mixed material has been fixed suitable with the cloth wanted. But there is also an area that doesn’t use the fixed comparison and only uses estimation based on the experience. Besides that, the difference is also on the duration needed for each mbabar stage. There are some persons using the certain duration, but some others only use the estimation. The differences influence the quality of cloth produced by every area. It is possible because on the mbabar stage, there is a chemical process; while ‘time’ has a big effect on the chemical process. But this process hadn’t been known deeply by the persons who did mbabar long time ago.

1. The Material for Mbabar
Generally to process batikan to be cloth (mbabar), we use the natural material with simple process. Indonesia is rich with the natural resources. The materials for mbabar are :
	a. NILA
		Nila is from tarum plant. (Java tom). Since the ancient period, tarum was used to make the clothes color. Nila was used to make batikan with other materials.
	b. TEBU(sugar cane)
		Sugar cane is taken from the sugar or its drops, for the mixture.
	c. ENJET(lime for chewing with betel leaves/ kapur sirih)
		It is used for the mixture.
	d. TAJIN
		It is boiling water when cooking rice.
	e. SOGA
		Soga is the name of plant from papilionaceae family and has a yellow color.
	f. SAREN
		Saren is from the word sari which means core or essence. In Java there is a word “saren” which means the cow blood that is cut and cooked. Here, saren is a materialor mixture from several materials to dip batikan after soga. And this stage is to release“malam”, or or get close to the finishing.

2. The Process of Batikan into Cloth
This process is devided into several stages and must be finished in order. If batikan has been covered completely, the work improves to the first step of changing batikan into cloth. The steps are s follows:
	A. Medel And Mbironi
		The main material for medel is nila (tarum). First, prepare water 24 pikul, one pikul is about 40 liters. A container is filled with 21 pikul and another is empty. A container that contains water is then given latak. Latak is the sediment of nila liquid. The amounts of latak are 3 pikul, steered in the morning and afternoon for 2 or 3 days. In the morning of the third or fourth day, if the condition of latak in the mixture has looked black, so the water above the sediment is taken and moved to the empty container. The sediment of mixtured latak is added with new latak as many as 2 pikul and sugar drop for one batok ( batok is meant coconut shell divided into two, and the flesh is taken). The color of the mixture will get yellow. In the afternoon it is added with black nila for 1,5 big bowls (pinggan).
		The next morning at about 6 am, batikan can already be entered into the black nila in the container (jambangan). Nila in such amount is for 30 pieces, each 2,5 kacu. The dyeing takes about 2 hours; after that they are lifted from soaking and put on the hangers without being spread, till there is no water drop (atus). The lifting from the soaking and the placement till subsiding (atus) is called “kasirep” (“kasirep” is taken from the word sirep which means “subside”). If it subsides (atus), then it is entered into nila again for two hours, then lifted and sun-dried until dry. The second lifting and sun-drying is called “kageblogi” (it is from the word “geblok” which means a way to hit, or a group measurement).
		After batikan is dry, it is entered again into nila. This work is done several times, till batik gets black. If batikan is already black, the work stops. Nila after the dyeing is added with the sediment of nila 1,5 big bowls soon. This addition is called “nglawuhi” (it is from the word lawuh which means side-dish for eating). But the meaning and function of nglawuhi in the process to change batik into cloth (mbabar) is as a perfection. Now nila is yellow. If it is too yellow, it will be dangerous because it can drop off “malam”, while malam function on mori hasn’t finished. Being too yellow is caused by the lack of enjet (lime for chewing with betel leaves/kapur sirih). But if there are too many enjet, the color will get green, cannot make batikan black. To return the color to be yellow, it is enough to be given Java vinegar or sugar drop.
		If it’s not yellow, give sugar drop and vinegar till the color becomes yellow according to the need. After that, enter batik into nila mixture like mentioned above. Now batik is completely black. After it is enough, batikan is lifted and washed into plain water and dried in the cool place.

			Batikan that has been dry is soaked in water till “malam” bluduk. (bluduk is like a condition to drop off). “malam” in reng-rengan and terusan batik are rubbed down by using a special tool till clean: while “malam” in blirikan and tembok aren’t rubbed. Batik that has been rubbed is then washed again (dibilas) till the washing water is clean, and dried again in the cool place. After batikan is dry, then give kanji (layer) by using “spoiled tajin” with cane sugar. The comparison of the mixture is 3 glasses of tajin and sugar as weight as 3 pieces of cent coin. After being given kanji, batikan is dried again. After being dry, parts that need blue color are given blue (dibironi). Before it, parts that don’t need blue color are covered with “malam”. The way to cover is the same with making tembokan and bliriki batik. After it has finished, we come to the third stage that is “soga”.
		Then batikan is given blue color, Batik reng-rengan must be rubbed till clean like the way above. After being rubbed, then it is washed and dried, or without being dried, but directly dipped into “tajin” (disekuli),then dried. If it is dry, it is then given blue color. The difference from the previous way is without the first drying. Besides that, the comparison of nila mixed with other material isn’t certain, but depending on the estimation of the maker. That is perhaps the defeat in wedelan stage.

	B. Nyoga
		After being given blue color (mbironi) and dry, batikan is given soga. The steps are: batikan is folded spirally (diwiru). After that, enter into a container which contains warm soga, then press the whole. Then it is lifted, and spread on that container in order that soga can drop to that container again. If soga doesn’t drop again, then sun-dry till half dry, moved to a cool place till completely dry. Up to here, this is still the first step of giving soga; the usage of each soga will be different on the level.

After finishing nyoga, batikan is given saren (nyareni). Chalk and sugar mix with water in a container, steer until shattered. After settling, soaking water is poured into kenceng (a kind of container). Batikan is entered into kenceng till the whole parts; then lifted till subside. After subsiding, hit in hot water in order that “malam” will lose. Hitting in hot water is called “nglorot” or “nglungsur”.

		After batikan is hit in hot water, then washed and sun-dried. The sun-drying of batikan is called “dikemplang”. Till this stage is called “ambabar”. Every morning batikan in the form of cloth is condensed. Now, the process of mbabar batikan has finished.

DAFTAR PUSTAKA Drs. Hamzuri, Batik Klasik , penerbit Djambatan, Jakarta 1981. G.P. Rouffear En H.H. Juynboll, DE BATIKKUNST, Th.1914 J. E. Jasper en Mas Pirngadie, INLANDSCHE KUNSTNIJVERHEID IN NEDERLANDSCH INDI, Gravenhage Door De Boek? & Kunstdrukkerij, Mouton & Co.? 1916. Rijksblad van Djokjakarta No 19. th 1927 TJOKROSUHARTO. Koleksi Pola Motif Batik, Tim Pengabdian pada Masyarakat Jurusan Sastra Daerah Fakultas Sastra Universitas Gadjah Mada, Pakaian Adat Jawa Gaya Yogyakarta, 1995