One of Fajar Ciptandi’s textile creation using Kerek’s raw cotton (Source: Fajar Ciptandi / Gedog Lowo)

Since his undergraduate days in Institute Technology of Bandung, Fajar Ciptandi has been researching topics around Indonesian textiles, including fiber material development (such as kenaf and organic cotton), natural dyeing and the product application of Indonesian textiles. In 2014, Fajar has been focusing his research specifically on the innovation of Batik Tenun Gedog in Kerek, Tuban, East Java. Fajar is currently a lecturer in Design program of Telkom University Bandung and encourages his research students to develop projects with Tuban textiles and fiber products.

In this episode of aNERDspective (our NERD talk show where we converse with amazing friends about their textile adventure and perspectives), we talked to Fajar about his research on Tuban textiles and fibers – on how to work with the artisans, developing strategies for innovation and product design development.

Note: Full chat is in Bahasa Indonesia and this translation of the transcript has been edited for reading format.

Tony Sugiarta (TS): Welcome Mas Fajar to today’s aNERDspective. How are you?

Fajar Ciptandi (FC): I am fine.

We first know each other when we are talking about a batik tenun gedog project. Today, we will talk more about your research and the result that you get from the research. Maybe we can start with an introduction, who is Mas Fajar and how do you start your research on batik tenun gedog.

My name is Fajar Ciptandi. I am an academic in one of the campuses in Bandung, Telkom University. I am also a craft researcher, from textile material development, natural dyes, and textile products innovation.

One of the topics when you were in college was to research batik tenun gedog. Why did you do research on it?

I did my research about batik gedog at the end of 2014, but I was already interested in batik, in general, since 2007. I first learned about batik when I was a college student, as I majored in Textile Crafts in ITB (Institut Teknologi Bandung, Bandung Institute of Technology). There were batik modules and that was the first time I used canting, wax, and made my first batik. In 2014, I made a dissertation on the topic of batik gedong in Tuban with ITB as well.

Why did you choose to major in Textile Crafts and batik?

When I first learnt about batik, I always found it impressive. Organically, I realised that I have a strong connection and found batik very interesting. If you ask why, maybe I am attracted to the ornaments, the process and the philosophy in batik that are so diverse across Indonesia. In the end, I felt that there are many things to explore in batik as compared to other textiles and materials. Hence, I chose batik to be my dissertation topic. I created illustrations of Indonesian traditional games with batik technique for my Bachelor’s Degree. 

I chose to work on textile fiber, kenaf specifically, for my Master’s and returned to batik for my Doctorate’s. Tenun gedog was a topic that I undertook for my Doctorate’s dissertation in around 2014 but I have known about tenun gedog and Kerek people since 2012.

Is there any specific reason to research about batik tenun gedog?

When I went to Kerek for the first time in 2012 with my professor, I did some research to inventorise batik motifs along the North coast of Java. We ended up in Kerek as one of the batik-making areas, just briefly for about 3 hours and we headed back. 

Although it was a short three hours, I found that Kerek is an interesting place. We went to Kerek which is one of the batik producers in that area, even only for a short time. Even though we only had 3 hours there, I think Kerek is really an interesting place. We are living in a post-modern era that is so sophisticated but, at the same time, in Kerek, we can still see people living in a traditional manner. They wear sayut or jarit to the field, they spin and weave in their front porch. I thought that their mannerism, with great products, would be an interesting research topic. 

I wanted to know what influences their batik creations, starting from the characteristics of the people (their mentality, habits, environment), government initiatives and many others. By knowing these factors, we can see why the batik is created that way. That pushed my decision in pursuing batik tenun gedog for my research.

As time went by, I saw the urgency of what the Tuban residents and their batik actually needed.

Could you tell us more about which aspect of tenun gedog specifically that you are working on, was it design development or…

After going through multiple processes, the process of choosing a topic was also long. At the beginning, I just wanted to research the intrinsic and extrinsic elements of batik tenun gedog. As time went by, I saw the urgency of what the Tuban residents and their batik actually needed. Hence, the research was focused on which Innovation Strategy Model would be most suitable for them to innovate.

As we know it, there are many traditional products of indigenous groups. When we try to implement innovations, oftentimes, we do not see what is happening on the field. We don’t see their values, behaviours or habits. We forced innovation on them and, as a result, innovation is not optimised and short-lived. 

In this dissertation, I tried to understand and learnt about their background and behaviour. After we know the basics, we created a strategy that could fit them so that it can be a sustainable innovation. So the research was geared towards development and innovation of batik tenun gedog textiles in which the process involves the community as innovators.

Definitely you take a look at the behaviours in the use or the production of the textiles. Could you tell us a bit more insights about the way they use or make these textiles, are there any differences from the past until now?

Prior to field investigations, I read a lot of literature and journals. From these publications and from what I see on-site, I found that there are areas where the same tradition is preserved.

It was said that the production of batik tenun gedog is from end to end (in the same area). Upstream, they plant and harvest their cotton for their raw material. They then spin it into yarn using a traditional spinning wheel, called a jontro. The yarn is then spun into a bundle, called benang tukel. Prior to weaving, it is starched with rice paste to make it hard. If it is not starched, it will snap when weaved. They finally weave it with the traditional loom. Once it becomes a cloth, the process has not ended. They will then decorate it with ornaments using batik. After that, they are dip-dyed. They used a lot of natural dyes in the past but I found more synthetic dyes now. Natural dyes still exist but it is limited. From the production POV, from I read, that is how it was made.

On the field, these processes are still being used by the artisans in Tuban but it is difficult to find one that uses them in the same exact manner. There are shifts in the process. For example, raw cotton is rare. I found that cotton plants are so rare. If I manage to find them, they are wild plants in the field. When asked, most said that it is either from these wild plants or from other areas, such as Pekalongan.

In terms of weaving technique, many use mechanised loom and there is a shift from traditional loom to ATBM (Alat Tenun Bukan Mesin, semi-automatic loom). Although it is rare, I can still find the traditional technique now. The shift happened probably due to the shift in market demand, lack of supplies, the need for effectiveness and efficiency in production time.

In terms of textile usage, you mentioned that they use sayut and jarit in their daily life. Is the ritual also still being observed?

The main use of gedog textiles in Kerek is as sayut and jarit. Jarit is a rectangle of about 100-110 cm in width and 250cm in length, often worn by the ladies until up to the ankle by wrapping it around their torso from the chest area and there are folds in front of it.

You mean folded like wiron?

Yes. Sayut is shorter, about 60 cm in width and in Tuban it is about 3 m long. It is used over the shoulders and around the waist, usually to carry everyday items. Many people still go to the fields that way.

Before talking about the philosophy, one of the interesting functions of cloth that I want to share, it turns out that in the past, the Kerek people used the cloths as commercial commodities which they exchanged for their daily needs through bartering. I visited a market in Kerek and I found that there are still many women who go to the pawn shops to pawn their cloths. When I asked, can this cloth still be accepted by the pawnshop? They said that batik tulis gedog of a good quality still has a high value. If it cannot be redeemed, usually it can be auctioned at a relatively cheap price and bought by the batik businessmen there to sell it at a much higher price.

People who use sayut or jarit are people who are above 60 years old. If we talk about young people and middle-aged people who are in their 30-40s, they do not use the cloth like that.

Those are some functions if we are talking about batik as a physical item.

Other functions that are more philosophical, for rituals, etc. is that from what I read in the literature and through oral tradition that are being told by some community leaders in Tuban. It is said that there is a function which is magical and spiritual in nature. It is believed to repel bad luck. Cloth could also be used during important events, such as weddings, birth and death, or used as a marker of social status.

The most prominent philosophy, as explained by Rens Heringa (ed.: an anthropologist who is known for her research in Kerek), is that the sub-districts of Kerek are divided based on the four cardinal wind directions. There are villages in North, South, East, West where it is believed that it is related to the cosmological concept or, as they called it, the circle of life. 

Similar to Javanese philosophy of Mancapat, it is said that each direction is a representation of life and in Tuban, interestingly, it is represented by colours. For example, people in the East tend to make white colour cloth which is called putihan. Why? It is because they believed that East is associated with the beginning of life, represented by giving birth. The white cloth is often used to wrap newborns or for birth rituals. 

In the South, represented by girls and their maturity (in sexual sense) and there are a lot of red cloth, representing menstruation blood. They are worn by teenage girls.

In the West, the colours are pipitan (blue and red), biron (blue), bangrod (red) and brown – the darker colours. For example, the blue colour represents a woman who has a role as a mother and a wife.

In the North, there is irengan (black) which represents death and ageing. 

That is what I read, the Kerek’s life cycle and how the cloth (of particular colour) is produced and this is how it is being used in a “ritual” manner. From the children wearing putihan, teenagers wear red, mother wear biron or pipitan and older ladies wear black. When passed on, they are covered with a black shroud. That is their philosophy.

When compared with the current condition, through interviews and direct interactions with the communities, the understanding of this cosmological side can be considered weak or they may not even be aware at all. I asked the community leaders, they don’t recognise or practice it at all. Not all Eastern villages produce putihan, or they can produce any colours as the market demands. 

It is interesting to talk about the cycle of life and the colour distribution. I wonder, why is that area making certain colours, is it because their fields produce more crops to make that specific dye, or what (may cause this division)?

If I try to ask directly, this kind of information is not easily discovered as their understanding of the philosophy has worsened, they are not aware of it at all. My speculation is (the same), maybe the Eastern village has more cotton crops and, hence, they concentrate on making white cloths. In the South, they don’t have as impressive a cotton field as in the East, they tend to concentrate in batik making and they might have more morinda trees and, hence, they produce more red cloths.

In the West, pipitan is more difficult to make. In the South, it is only one colour and pipitan process is more complicated. They are nearer to the market and they are expert in batik making and develop the technique further. Hence, they can make intricate details with multiple colours.

I would agree that it is not just cosmological philosophy but I would say that the environment also supports their production habits.

How long did you do the research on-site?

About 4 years. I am living in Bandung, so I did “semi-ethnography” research. I cannot do fully ethnographic research because for this kind of research, I need to live and be part of the community there. The longest stay I did during research is about two weeks. I usually stayed there for a week, went back home, and one month later I will come back. Two weeks was the longest. I slept at the resident’s house or the hotel, depending on the situation. I did the research for about 4 years, I went to Kerek once a month and stayed there to do research for about 1-2 weeks each time.

So, you did a semi-ethnography research and one of the goals is to develop the design itself. Could you tell us more about what you have done in terms of design development?

The focus of this research is to find the right innovation strategy to be applied to the traditional textile production in Kerek. The first result of this research is a strategy that, I evaluated, to be a right fit, to be implemented in the Tuban community to develop tenun gedog textiles. I named it the ‘Square-based Pyramid of Innovation’. Although it is implemented in Kerek, Tuban, I believe that this strategy can be implemented in other areas in Indonesia outside of Tuban.

Secondly, as a result of innovation, I created a new form of innovative batik and woven cloth design which I tried to represent a new Tuban identity. When we are talking about traditional Tuban textiles, it is mostly polosan or seser (plain weave) or the batik that they produce. I try to create a new Tuban identity through surface exploration. I experimented with the weavers there and created 5 new tenun gedog with varying textures. When creating these patterns, I also evaluated their skill set, not demanding any advanced techniques. The inspiration also comes from their surroundings. 

Click here to learn about Batik Tenun Gedog Tuban motifs with Darminto

The first cloth is called Sodo Sumelap, a stick that is stuck. I saw that they sweep their front porch with a stick broom and sometimes the sticks snap near to the loom. Some shards might get stuck. The texture might be plain but there is a certain section that looks like sticks have been inserted. 

The second is Upo Kecer, the scattered rice. I like to follow them into the field and they will pack some rice with banana or teak leaves. They will just throw them after they eat and on the leaves, there are some grains that are still stuck. So I experimented to create a plain cloth with dotted texture.

There is also Ulo Gibas, which is the sheep’s fur, as many Tuban people like to sleep with their sheep. Yes, they bring the sheep into the house and tie them at the front of their beds. The sheep is something that is very close to their daily lives. 

The fourth is Tegel Cino, named after the Chinese tiles. On average, Tuban people do not have tiles. Most lived directly on compacted soil. Sometimes, I enter into a house (of a more well-to-do family) on which the floor is laid with these tiles, about 15 x 15 cm and they are grey. They call it Tegel Cino and it is only owned by batik businessmen.

The fifth is Cacah Gori, which is minced young jackfruit. When I visit, they will always serve me with a jackfruit dish, without fail and I made that as the final pattern in the series. 

I would say that the patterns are simple but it represents their new identity and I hope that they would be able to replicate and introduce this texture to more people. Actually, I registered these five motifs for an international award and we obtained an international recognition in 2019 from the World of Craft Council with the Excellence in Handicraft award. This becomes an appreciation for the people who worked with me.

However, it would be meaningless if there are no users or stakeholders of these five patterns. Hence, I tried to introduce them to some Indonesian designers whose style matches with the essence of Tuban. It was appreciated by Lulu Lutfi Labibi, a designer who is renowned in Indonesia. These five textiles are used by Mas Lulu to create five sets of clothes. He then posted (on social media) and, quickly, they are appreciated and sold.

On the Innovation Guide, are you referring to guiding the human resource or in terms of developing a particular mindset?

The foundation of this innovation pyramid is the factors that become the essence of traditional weaving or traditional arts, such as technique, function and value. The base component is something that is found in a tradition, specifically the traditions of creating traditional artefacts. On top of it, we are talking about creativity and methodology. 

When talking about this innovation guide, we are evaluating what are the elements that can be eliminated, preserved, replaced or the “untouchables”. If you found elements in a tradition, the innovation guide will walk you through which elements to prioritise and to be promoted to preserve the identity and which elements you can change to invoke new updates without eliminating the identity of the tradition itself. 

So the basis is technique, function and value?

Yes, that’s right, something like that. Actually, you need to see the final concept to be able to understand in detail but, in general, yes, it can be summarised that way. It guides us to be able to sort out what needs to be done in a (promoting or preserving) tradition.

One of the results obtained is in the form of the five woven fabrics. Is the difference in the weaving technique?

I also did not try to replace the weaving technique with a new one, but to use the basic technique that they have, which is the plain weave. I had a hard time introducing a slanted weave, for example. Also, their loom is so traditional that it cannot support that. So using the same weaving structure, we modify the technique slightly. For example, instead of 1-1-1 skip in traditional weaving, we do 3-1-3 or 5-1-3 skip. That creates a texture on the surface. Also, with a simple tool, we insert threads, pick and tie to create a fuzzy texture. We tried to innovate without changing too much of the foundation that weavers have mastered before.

What are the reactions from the weavers when learning these new techniques?

When we did this experiment, we selected the artisans. I chose, instead of picking at random, to avoid unmeasurable results. I hand-picked them. First, we classify based on the level of innovators or adaptors. Innovators tend to be older, or someone who is learning from the seniors (a.k.a community leaders while adaptors refer the producers who follow directions). There are three levels (of craftsmenship): proficient, good, adequate. Next is based on age: young (18-25 years old), middle (25-50 years old) and senior (above 50 years old).

When I proposed to work with them, I must say, it was not easy. 50% of them rejected up front. I think that it is difficult for them, mentally, to face a challenge. Through a slow and gradual approach, we manage to get people to work with us. Out of 12 candidates, 6 people are actively involved. 

Was the experiment completed in around 4 years?

Yes, within 4 years. Actually, in the first year I had not really done the experiment. I was still at the literature review stage. I think this experiment (officially) started in the second year, so it is probably about 2.5-3 years which is really executing the experiment. 

Are the five designs still in production?

Up until COVID, I still make these five designs and we want to continue. If we want to keep producing, we need a continuous order for them to be able to sustain the production. Frankly, I found it a pity to have the five designs created but we have not done sufficient promotion to introduce the new identity of these woven cloths. I have tried to approach the government to promote them but perhaps due to COVID or other reasons, there are no visible efforts undertaken. I can only use my social media in my personal capacity. Unfortunately, it is not as huge to attract new demand. If there is no demand, they will not produce it at their own volition. When asked if they still produce it, I believe many do not. There are many other parties who must be involved to continue beyond this stage.

This is just the woven fabric. It has not been decorated with batik, right?

When Tuban people make cloth, they will not stop at plain cloth. They will decorate using batik technique. In the experiment that I did, I took that into consideration. If we create new textured patterns but it cannot be made into batik, the effort will be pointless as the batik tradition will be lost. I also engaged three batik artisans to experiment and to create batik using these textured textiles. We succeeded, despite having the motifs that are not as expected. There are those that use brushing technique or those waxed with bigger patterns as the waxing is obstructed by the texture. When the result is exhibited, it becomes a new visual from a motif perspective that is not as traditional as the patterns are adapted to the textures that have been woven. Yes, we did that and showed that we can still batik on top of the new woven cloths, with adjustment to the motif and final process.

What were the challenges that you faced during research?

The main challenge is the mentality of the artisans. I used the Innovation Guide and I believed that this is a good strategy that I will adopt but it was rejected by artisans. Perhaps, my strategy is still not the right fit. However, the main obstacle is their mentality. They are not ready to be forwarded with the concept of innovation. 

Secondly, it is the distance to do this kind of research. Ideally, we should have a strong connection in terms of communication and distance that allows better communication. For me, the distance from Bandung to Tuban is one that I always need to consider. 

Thirdly, as this is a research, there are, perhaps, gaps in theory and the actual condition in the field. With the mindset challenge as mentioned, I said that I am a buyer. I remember the artisans who rejected me in the beginning. I have to reframe the proposal that I am a buyer. When I told them that I am a researcher, they did not understand. I told them that I want to buy it but I do not like plain cloth and I want it textured. When I came as a buyer, they were more receptive. There is an economic incentive that pushes them to try it out. 

Maybe the terminologies (of research) are a bit difficult.

Yes, the terminology is a bit difficult. If you come and say, “let’s do this and the benefits (of innovation) will be good for the artisans here”, they do not comprehend. However, when you say that if they make it today and I will pay for it, they can immediately understand.

What are the opportunities or what are needed to advance this batik tenun gedog?

First, the existence of traditional cloth artisans has a big role in shaping the identity for Tuban itself. From an economic point of view, it can visibly help the people in Tuban to earn income from these activities. I see that the government should view that as an opportunity to facilitate the people of Kerek to sustain their production of batik tenun gedog so as to prevent the extinction brought upon the massive industrialisation. Not far from Kerek, there is a cement factory which was built on the land which used to be the biggest cotton plantation. They do receive some social welfare but I mean the development effort that touches upon the concern to sustain (the continuity of) the local Tuban traditions. This is a huge opportunity for the government. 

Secondly,  Kerek is well known for its weaving tradition and it is the only place in which the use of the word “gedog” (traditional loom) to call their best product. When we hear the word gedog, we associate it with Tuban, which would be an opportunity to gain Geographical Indicator recognition. That way, it will attract visitors and their product can be promoted, similar to Bali’s Tenun Gringsing. I feel that Gedog has the same potential. If we can declare them, the chance to raise the weavers and their products in a bigger stage can be higher. 

Finally, in relation to my research, I hope that the Innovation Guide can be further developed through collaborations, be it the concept refinement in the future research or other possibilities on textile-based product innovation in Tuban.

It is better to evaluate what is currently available and we develop from there, such as their weaving technique, not in terms of providing technology.

Other than guidance, are there technological aid evaluations during the research?

Technology is not always referring to being computerised. The motorised spinning wheel is one of the most advanced technologies that they use. At the beginning of the motif development, I also talked to Mas Lukman of Batik Fraktal. He claimed that Batik Fractal is a software to aid artisans develop new motifs. If we see Batik Fractal as a new software, where do we see the level adaptation for these Tuban artisans as a response? If these artisans are used to technology, according to him, they can easily adapt. I ever tried to use the software as a technological aid (in Tuban). It does not work unless there are designers, like me, who use the software to create new designs and pass it to them to execute. That (is one way) we can achieve adoption. 

So it is better to evaluate what is currently available and we develop from there, such as the skipping technique that I mentioned earlier. We guide them until they are familiar with the technique. Hence, the guidance is more towards expanding their skills and to ensure that they can execute them independently. Hence, the assistance is not in terms of providing technology but more on how to expand their weaving skills and techniques.

The artisans may not be as accustomed to technology so perhaps the understanding of technology as well as new ideas still need a lot of adjustment and explanation.

Now what is the continuation of the research? 

On the research, I have not given up on Tuban or Kerek yet, so I tried to incorporate them in my research. I am in my second year of ‘multi-year’ research to combine two local materials. For example, Tegalwangi is a centre for rattan handicraft and I see that I cannot talk about Tuban as a standalone (entity) but as a collaborator. So, I tried to bring gedog woven cloth and yarns to be combined with rattan. To date, rattan is woven with rattan bark. For the past two years, with the community in Tuban, I tried to develop spools of yarns in which the thickness is about 17 times the thickness of regular yarns to be used in rattan furniture. The product is about 70% done and we are planning to apply for IP Rights protection. 

Secondly, to encourage continuity, I will ask my students, be it Bachelor’s or Master’s students to research on Tuban. If they want me to be their advisor, they will have to do research on Tuban. There are now 15 students whose research is ongoing with whatever innovation topics they are developing. The main thing is to ensure continuity. Hence, any research, even though at undergraduate level, will be very useful.

What new innovations have they come up with?

For undergraduate research, their research is mostly about development of end products with focus on Tuban textile traditions. This has been ongoing for 3 semesters and, in general, they mostly use the yarns. They use the yarn and create products with different techniques, such as embroidery, tufting, crochet. They use it as decoration for fashion products. There are some who are researching from the natural dyes perspective. Some develop the motifs or combine it with tie dye or jumputan. There are also students who buy plain cloth and turn it into apparels or accessories. For undergraduate, their research is geared towards product development.

Also, when I graduated, I created a community, called Komunitas Batik Gedog Lowo. The background of this community is because the artisans often said that they always sell their cloths to middlemen who sell them for a bigger profit. The artisans do not know how much their cloths are sold (or worth). So I created this community and an Instagram, to help them pool their works to be promoted and sold. This community was initiated in 2009. 

I ever brought them to participate in a trade exhibition in Jakarta. Although they did not sell as much, they are so happy to participate. So I hope that the community can be a place for them to be less dependent on these big businessmen and they can learn to interact directly with the consumers. Unfortunately, I am working alone and I need more support from a bigger support system. I have a limited capacity in running this community.

How does it work? They have a leader who help to coordinate the community, do finishing (ed.: dyeing and wax removal) and selling? 

In Tuban, there is one that we call the juragan (big businessmen) who have big capital. I do not involve them as they are capable on their own. 

Next are those whom I called the innovators earlier. They are people who many artisans respect and look up to. They are a central figure although they do not have a big capital themselves. Bu Rukayah is one such innovator. Many researchers talk to Bu Rukayah as one of the main sources of information. You can talk to Bu Rukayah (about an idea), (she will tell the people and) many people will listen to her. Another one was Bu Sri, who just passed away. Many people were close to her. She was so kind and helped me a lot during my research. These are who I called the innovators who have an influence in the community. 

There are also adopters, the artisans who will follow these innovators. When I have to coordinate, I would just need to talk to one of the innovators and they can help to communicate it to the artisans whom they feel will be the best candidate to execute the idea.

It seems that transactions are not as advanced as in the other batik cities, in which sales are still through middlemen.

Yes, pengepul (middlemen). These middlemen are the rich merchants. Bu Sri and Bu Rukayah are not “middlemen”. To be a middleman, you need a big capital which the innovators do not have. However, they are very close to the artisans and they have the knowledge to activate the artisans. With the Cooperation, Bu Sri helped to gather the cloth and to help selling, not to be purchased by her. Different with the rich businessmen who will come to buy and sell at their own price.  

Before we close, are there any messages or wishes for the development of batik tenun gedog, or Indonesian textiles, in general?

Personally, I hope for the best for the development of Indonesian textiles, especially Gedog batik, which is my research area. 

In my opinion, I am sure that we can preserve the tradition, not to say to only use conservative methodologies and to reject any changes or innovation. Change is inevitable. If we only look at batik tenun gedog tradition from a conservative lens, there will not be any change or development. So let us have the same spirit to innovate Indonesian textiles and batik tenun gedog based on the understanding and the knowledge of local tradition and wisdom. This way we can preserve our heritage and cultural identity while creating a new breakthrough.

We hope you enjoyed this episode of aNERDspective. Check out the previous episode on IGTV and our gallery and store if you would like a piece of Tuban textiles for your home or wardrobe.

Photo credit: Fajar Ciptandi / Gedog Lowo, unless stated otherwise.