The Ancient Art Of Brunei's Traditional Batik

Batik is a dyeing technique using wax resist, which is also used to describe the patterned textiles created with this method. In Brunei, batik is one of the two types of traditional clothing, the other being Ikat. Batik is created by drawing or stamping wax on cloth to prevent colour absorption during the dyeing process, and is repeated to create intricate patterns and colours. In the past, only certain people were allowed to wear certain patterns, and batik clothing was limited to royalty in Brunei and Malaysia. The art of batik in Brunei is facing a decline, with the country's last commercial batik producer, Batik Desamas, struggling to find young people to continue the craft.

Brunei's last batik producer

Hj Zainal began producing batik in the early 2000s from his family home in Anggerek Desa. Five years later, he moved production to a factory in Sinaut, Tutong, and hired up to ten people, many of them young Bruneians. However, after three years of losses, he was forced to abandon the project due to the high costs and lack of experienced craftsmen in Brunei.

Hj Zainal then travelled to Indonesia, where he discussed the possibility of producing Bruneian designs with local craftsmen. He decided to digitize his drawings and send them to Indonesia for printing and dyeing, before being shipped back to Brunei to be sewn into men's shirts. In 2011, he received a $150,000 grant from the Brunei Economic Development Board, which helped him halve production costs and revive his business.

Hj Zainal's batik designs are inspired by local flora and fauna, architecture, state symbols, and art. Shirts retail from $40 to $60. He has also created Kain Tanjong Brunei, a digitally printed alternative to the handwoven fabric tenunan, which is worn by both men and women during special ceremonies. Despite his success, Hj Zainal faces criticism from traditionalists who view his digitally printed options as bastardized versions of the original art form.

At 67 years old, Hj Zainal is concerned about the future of his business, as there doesn't seem to be much interest from the younger generation. It will be up to his two children to carry on the legacy of Batik Desamas and Brunei's last batik producer.

The process of making batik

Batik is a dyeing technique that uses wax resist to create patterned textiles. The term 'batik' is derived from the Javanese word 'bathik', and the process has been practised in several world cultures, including Egypt, southern China, India, Indonesia, Malaysia, Nigeria, and Sri Lanka. In Brunei, batik is a traditional craft that involves creating patterned fabrics using this wax resist technique. Here is a step-by-step guide to the process of making batik:

• Gather Materials and Set Up Workspaces: Prepare the necessary materials, including fabric scissors, a drop cloth or plastic sheet, containers for dyes, water and a whisk for mixing dyes, beeswax or specific batik wax, a crock pot or hot plate for melting the wax, paintbrushes, latex-free rubber gloves, and a large paintbrush for hot wax application. Set up four distinct workspaces for drawing, waxing, dyeing, and finishing.
• Cut Fabric and Draw Design: Cut the fabric to the desired size, typically 9" x 12" for beginners. Students can then draw their designs directly onto the fabric with a pencil or trace a sketch placed underneath. Simple designs, such as landscapes and animals, are recommended to avoid overly complex details.
• Apply First Layer of Wax: Using tjanting needles or a canting tool, students "draw" with liquid wax directly on the fabric, following their pencil lines. This layer of wax acts as a resist, preventing dye absorption and creating "blank" areas in the final piece. Practice on scrap fabric is recommended before starting the final piece.
• Add Dye: Dip the waxed fabric into a dye bath or use paintbrushes for a more detailed application. Traditional batik often involves a dye bath, while paintbrushes allow for more precise colour placement.
• Apply Second Layer of Wax: After the dye dries, paint a second layer of wax over the entire piece, on both the front and back. This layer seals the fabric and will be cracked to create a unique effect.
• Create the Crackle Effect: Bend and fold the fabric to crack and break the wax seal. This step allows the dye to penetrate the wax in specific areas, creating a crackle pattern.
• Add Final Dye: For a quick completion, dip the entire fabric into a bucket of black dye or other final colour. Alternatively, use a paintbrush to apply the final dye with more precision and control over the crackle effect.
• Remove Wax: Use an iron to remove the wax by placing the batik between layers of newspaper and ironing over it. Replace the newspaper as it absorbs the liquid wax, repeating until all the wax is removed.
• Mount or Display the Finished Piece: The fabric can be mounted on cardboard, mat board, or illustration board, or simply taken home as-is to enjoy the tactile quality of the artwork.

Batik is a fascinating and engaging process that yields memorable results. It requires preparation and supervision but is a rewarding experience for both students and teachers alike.

The history of batik in Brunei

Batik is a dyeing technique using wax resist. The term is also used to describe patterned textiles created with that technique. In Brunei, the art of batik is deeply rooted in the country's history and culture. Here is a brief overview of the history of batik in Brunei:

The origins of batik can be traced back to ancient times, with evidence of resist dyeing using wax found in several world cultures, including Egypt, southern China, India, Indonesia, and Malaysia. In Brunei, batik has been a part of the country's textile tradition for centuries.

The technique involves drawing or stamping wax on a cloth to prevent colour absorption during the dyeing process. This creates a patterned negative when the wax is removed from the dyed cloth. Artisans can create intricate coloured patterns with multiple cycles of wax application and dyeing. The patterns and motifs vary widely, even within countries, with some holding symbolic significance for special occasions.

In the 15th century, weaving became significant in Brunei, with visitors like Antonio Pigafetta observing the creation of handmade garments like the Jongsarat, used for weddings and special occasions. Batik, a type of dyed cotton cloth decorated with the wax-resist technique, became a skill passed down through generations. While in the past, only certain people were allowed to wear specific patterns, today, batik is worn by people from all walks of life in Brunei.

The country's rich natural resources, including dense tropical rainforests, have also influenced the development of traditional crafts like batik. The Bruneian government has played a crucial role in preserving these traditions, establishing the Arts and Handicraft Centre in 1975 to revive ancient crafts like weaving, which produces colourful cloth such as the Jong sarat and sinjang.

Batik holds a significant place in Brunei's cultural heritage, with its unique patterns and motifs reflecting the country's history, values, and artistic expressions. The preservation of batik in Brunei showcases the country's commitment to upholding its cultural identity and passing down traditional knowledge to future generations.

The use of batik in Brunei

Batik is a dyeing technique using wax resist. The term is also used to describe patterned textiles created with that technique. In the past, batik clothing was limited to royalty in Brunei and Malaysia.

Batik is made by drawing or stamping wax on a cloth to prevent colour absorption during the dyeing process. This creates a patterned negative when the wax is removed from the dyed cloth. Artisans may create intricate coloured patterns with multiple cycles of wax application and dyeing. In Brunei, the motifs often represent the country's cultural heritage, with designs inspired by local flora and fauna, architecture, state symbols and art.

The process of making batik starts with plain cotton, on which patterns are drawn with melted wax. The cloth is then dipped in dye, which colours the unprotected fabric. Waxing and dyeing continue until the pattern is complete.

In the early 2000s, Hj Zainal Abidin Hj Ibrahim, founder of Batik Desamas, attempted to produce Brunei's first commercial line of batik clothing. He wanted to create designs that represented Bruneian identity. Zainal's designs draw inspiration from local flora and fauna, architecture, state symbols and art. Shirts retail from $40 to $60.

Hj Zainal began by setting up production at his family home in Anggerek Desa. He later moved into a factory in Sinaut, Tutong, where he hired up to 10 people, many of whom were young Bruneians whom he initiated into the trade. However, the gap in his team's skill was too wide to bridge, and after enduring three years of losses, he was forced to abandon the project.

Hj Zainal then travelled to Indonesia and discussed with local craftsmen the possibility of producing Bruneian designs. He decided to digitalize his drawings and send them to Indonesia for printing and dyeing, before being shipped back to Brunei to be sewn into men's shirts. In 2011, he was awarded $150,000 by the Brunei Economic Development Board to revive Batik Desamas as a business producing traditional textiles through modern means.

Differences between Indonesian, Malaysian and Bruneian batik

Batik is a dyeing technique using wax resist. The term is also used to describe patterned textiles created with this technique. While Indonesia, Malaysia, and Brunei share similarities in terms of geography, demographics, and culture, there are some differences in the way they produce and use batik.

Indonesian Batik

Batik plays multiple roles in Indonesian culture, especially in Javanese culture. In Javanese ceremonies, the clothes worn indicate a person's royal lineage. Batik is also essential in ceremonial costumes and is worn as part of a kebaya dress.

The traditional colours of Javanese batik are indigo, dark brown, and white, representing the three major Hindu Gods, Brahma, Vishnu, and Siva, respectively. Indonesian batik uses brown, gold, and black colours and features intricate patterns and motifs, some of which are exclusive to nobles. The motifs vary across different regions and provinces, and each motif contains a deep philosophical meaning.

The two main types of Indonesian batik are stamped batik (batik cap) and written batik (batik tulis). Stamped batik uses a copper stamp with carved motifs to print the cloth with the resist, while written batik uses a pen-like instrument called a canting to write molten wax on the cloth.

Malaysian Batik

Malaysian batik usually features plant and floral motifs, except for a butterfly theme, to avoid the interpretation of human and animal images as idolatry, according to local Islamic doctrine. Malaysian batik is famous for its geometrical designs and tends to have larger and simpler patterns. It relies heavily on brush painting to apply colours to the fabric, and the colours are usually lighter and more vibrant than Javanese batik.

Bruneian Batik

Brunei, a small constitutional sultanate in Southeast Asia, shares many cultural practices with Indonesia and Malaysia. Tradition and custom are extremely important to the Bruneian people. Brunei's Arts and Handicraft Centre, set up in 1975, has helped preserve traditional crafts, including weaving, which produces colourful cloth. While I could not find specific information on the differences between Bruneian batik and the other two, it is likely that Bruneian batik shares some similarities with Indonesian and Malaysian batik while also incorporating unique elements that reflect Bruneian culture and traditions.

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