Cardboard batik stamps and its results on cotton (Source: Omah Kreatif Dongaji)

Nurohmad is the founder and director of Omah Kreatif Dongaji, whose signature is to produce handstamped batik stamps from the unlikeliest material, cardboard from waste materials.

In this episode of aNERDspective (our NERD talk show where we converse with amazing friends about their textile adventure and perspectives), we talked to Mas Nur about his journey in creating this tool with “Appropriate Technology” and experimenting with multiple art forms.

Note: Full video in Bahasa Indonesia is available on IG TV and this translation of the transcript has been edited for reading format.

Batik is like a train, regardless of where you are, VIP, Economy or Business class, we are all heading in the same direction, towards prosperity and a better well-being.

Tony Sugiarta (TS): Welcome Mas Nurohmad to today’s aNERDspective. Thank you for sparing some time to talk with us. This will be a casual talk, maybe we can start with an introduction, who is Mas Nur and your journey in founding Dongaji?

Nurohmad (N): My name is Nurohmad, I was born in Jepara in 1975. I went to secondary school at Sekolah Menengah Industri Kerajinan (SMIK, Vocational High School of Crafts). Then, I went to college in the Arts Faculty of Institut Seni Indonesia (ISI, Indonesia Institute of the Arts) at Yogyakarta, majoring in Crafts, and my primary interest was in woodcraft. My batik knowledge was from the vocational school. During my time, vocational high school took 4 years. 

Did you learn all mediums, including batik and visual arts, then?

In high school, it was specifically batik. In ISI, I switched to woodcraft. However, the soul of batik follows me. During college, I founded a community called Rumah Kartini, which transformed to be the embryo of Dongaji. There were 8 of us and we built that to survive college (ed.: financially). After graduation, for 2-5 years, I was still doing woodwork. Around 2013, I was invited to teach carving and the ladies were interested to learn batik when they knew about my background. It was a difficult situation and I was not comfortable sticking to wood carving due to the pressure (ed.: of the practice). I then moved to batik, starting with training in Kalimantan. From there, I was motivated and I felt that I have no credibility if I do not have a studio. From then, I set up Dongaji. 

Are your parents artists too?

My parents are not, they were drivers and ever worked in a wood treatment factory. So, I do not have any basics (ed.: as an artist). I took up batik when I was in high school.

Talking about Dongaji, firstly, what does it mean?

Dongaji was given by my teacher. In Islam, guru ngaji (the teacher of learners). I was given that name but I was not really excited about it. But it was good. Dongaji means let’s learn and can be considered a good blessing. If there was no income, we call it don gaji (we need salary) *laughter*. I ever performed in Yogyakarta but we were not considered as an art studio because they thought that we were terrorists. 

Dongaji is in the batik business but we do not restrict ourselves to batik. We want to be a craft laboratory, tapping on my knowledge as a wood craftsman. Till today, I teach both. I also want to involve friends from other fields and discipline to join Dongaji’s laboratorium (ed.: and to share knowledge), beyond selling products and services.

What do you do in Dongaji?

We are doing the “industrial” processes, such as producing cardboard batik stamps, both making the stamp themselves or to stamp the cloth. So we are offering services. We also design stamps that are unique to other regions. So our signature products are two, the cardboard stamps and Shadow Batik (a performance art show combining shadow puppet and batik, which we will discuss later). 

We also organise talks about culture to build a collective knowledge on how we understand culture and their products. 

So, it is not only batik, but also from other fields too?

Yes, we are sometimes quite extreme. For example, we combine arts and religion. We invited a religion figure and a college professor to meet and to give their opinion. 

It is so fun to bring these people from various backgrounds to meet.

Yes, giving various perspectives.

As you mentioned, our program aNERDspective is to propose new perspectives about textiles, not only from the artisans’ point of view, but also the artists, the sellers, the consumers, etc. That is really interesting. 

Yes, traditional arts is not just about the technique but also the intangibles behind the work and the process. They are very rich. If batik is only a piece of cloth, it is empty.

You mentioned that the biggest offering is the paper stamps. How did you get inspired to start making paper stamps?

In 2016, I had an order, a really cheap order. If I calculated the labour cost and the time to canting, it is impossible. It is also not possible to use copper stamps to manage the budget. So we thought, can we use paper? So we tried and it worked. It was still really simple. The shirt that I am wearing is my first stamp that I produced in 2016. Cardboard stamps have been produced in Pekalongan, but I make paper stamps from waste paper, packaging papers.

Could you tell us more about the material?

I use recycled materials, including packaging papers such as food wrapper, cigarette boxes, any wrapper. Since, there are many friends (in the university) who research about them and it was found that duplex in various types and sizes could be used as stamp materials. I still use the word “waste” as it is catchy.

So, there are actually cardboard stamps culture?

Yes, but I was not aware of it. There was an ISI professor who called and asked if it was a quilling technique, I have no idea. I researched and, indeed, it is a coiling technique, a paper decoration technique. This cardboard stamping is an applied art, which is considered advanced graphic design. 

From what I see, these are quite thick and strong. From what I know, cigarette boxes are small and flimsy. Are there any particular treatments?

Papers have pores and the wax seeps into these pores. As we use it, the wax will fuse into these pores, solidify and make it stronger. We do not need to coat them.

So the wax will strengthen the paper?

Yes. We were not aware at the beginning but as we got more involved, we figured that out. Since the first order, we explored materials, including the thickness and constructions, and figured how to make it stronger, what’s the thickness (to make sure safety during stamping), etc.

We also explored wood and bamboo. However, they are not good for curved lines. Paper is elastic and can follow the lines while bamboo cannot. It is possible (ed.: to follow the curve) with wood but they cannot reach a certain thinness as woods are thick. In fact, wooden stamps are the first stamp that was invented, in around the 1800s.

Are you referring to the cigarette box or the inner packaging?

The box, which is stronger. If standalone, they will not be strong. However, when constructed together and flattened, they will be strong. 

Maybe you can describe the process?

Papers are cut to about 1.5cm wide strips. Then we follow the curved lines on the motifs, starting from the inside as it is easier. After all the papers were glued, we smoothen it (ed.: using sandpaper) to reduce human error. When it’s done, they are ready to use. 

How about the back support?

It is plywood, also waste materials. We use plywood as they have been tested, especially when they will be used with hot wax. The handle constructions must be considered too so that there will not be many movement or shape distortion after it interacts with heat.

Is there a reason why you chose waste material?

Waste is continuously produced, so they are easy to obtain and they are cheap. The technique of making them is very simple and does not require any special skills, such as soldering and metal works. I have tested it with several groups, from kindergarten to adults with respective difficulties, they can do it. It is also transferable. I have worked with people from Sumatra to Papua.

What are the advantages in using stamps from paper?

The production cost is cheaper. It could be 4 to 5 times lower than a copper stamp. That’s the bottom line in business. Other than that, they are customisable. Even if they want to make one piece of cloth, we can cater to them as it is easy to make and the materials are easy to find.

How about the limitations of cardboard stamps, compared to copper stamps?

In general, paper stamps are comparable to copper stamps. However, paper stamps cannot be used to make pointed patterns. They will be quite blunt (i.e. resulting in big dots) and it will not be a perfect round, that’s a disadvantage. For thin lines, the paper stamps can match the copper stamp as we can find papers of various thickness. Now, if it will be stamped on to the cloth, how long does it last, that depends on the skill of the stamper – the technique and human error – not just the stamp.

Yes, I saw the one on your shirt, the lines are quite clear.

In fact, this is using natural dyes that require the wax to be in water for a long time. For synthetic dyes, they might only require a few minutes but natural dyes need to be dipped multiple times to get a strong colour. 

When talking about durability, we also need to talk about usage and storage. No matter how strong, a stamp batik artisans needs to rest, so does the stamp. If we use the stamp continuously under strong heat, inevitably it will be bent and damaged quickly.

So there are many factors too, how to use it, how to store it, etc.

Yes, so not only the stamp but the user too.

Perhaps, you can show us some examples of motifs created by Dongaji?

This is the Corona motif.

Pandemic-special.

Yes, so I was a little busy because many media approached me due to this corona motif. I have no stock. People bought the stamps too, including a professor friend in West Sumatra. 

Most of your products are the loose cloths, right?

Yes, mostly cloths. I have not gotten into fashion products yet. I am always criticised by designer friends that I design patterns based on stories, for example the corona motif, how do I combine it with home, with the village and the Garuda to tell the story that Indonesia is under attack. I did not think about how it will be used later on. That is a criticism and that is fine.

Of course, there are some motifs that require certain traditional constructions/pattern arrangement. For sarung and shawls, I do follow the traditional patterns and ornaments arrangements that are filled with philosophy, with or without a stamp.

Interesting products. For a stamp that is cheaper, the results are comparable. 

I champion Appropriate Technology (ed.: defined as a movement encompassing technological choice and application that is small-scale, affordable by locals, decentralized, labor-intensive, energy-efficient, environmentally sound, and locally autonomous) in my regency. I was classified into this category as I gave a solution to the residents to make us easy-to-source materials, cheap and easy to produce, although that is not my original intention.

Other than selling, you offer workshops too?

Yes, we offer training. We can do off-site training. Before the pandemic, we often went out of Yogya, with the last one (ed.: before the mandatory stay home restrictions) in West Sumatra. In each place, we will create local motifs, to help the locals to explore their heritage and identity. Of course, we design not only based on visual appeal but we want to bring in the symbolism, the soul of batik, to each design.

So you will include an element of storytelling and tell the story about their local culture?

Yes, I will bring it there. There was once in Palembang when I had a debate with a participant. Perhaps, it was also their strong character that we ended up in a debate. However, we still need to find ways to understand the dynamics of how to make them realise how to make a motif tell its story, not simply an image on a piece paper or fabric.

You really consider the structure and the culture in each region.

Yes. For example, when we make a sarung, I always say that there is a tumpal (a triangular pattern that is lined up across the width of the cloth) and it is called pucuk rebung in Sumatra. So I tell them the philosophy behind pucuk rebung, the structure of the panel, side motif, etc.

Also, after they eat, they do not discard the paper boxes or plates. We will use it to make paper stamps. We apply it immediately. I wanted to show that it is really easy and not as complicated as they thought.

To turn back a little bit. You mentioned the weakness of paper stamps that it cannot make small, detailed dots, do you think there are advantages of paper stamps that cannot be replicated on a copper stamp, design-wise?

I do not think so. The copper stamp is the pinnacle of the stamp invention. Copper is durable and flexible. The only problem is the weight. In Pekalongan, stamped batik is called batik lanang (batik made by men). However, with different variants, children and ladies can stamp too because these stamps are lighter.

Indeed, I tried the copper stamp. It was heavy and I have to be precise too.

With paper stamps, those who are interested to learn, they have more rooms to explore. 

I am very interested in the stamp-making process and maybe I could visit your workshop one day. Speaking of travelling, what are your activities during the pandemic?

This pandemic, I stayed at home in the studio. I had three engagements outside of Java that were postponed. That turned to be a blessing in disguise for Dongaji to incubate and to explore new works. I became more productive with the stay home protocol, we produced metres of fabric during the stay home period. Recently, workshop activities are picking up around the area.  

I see that you are more productive with the Corona motif.

That was just for fun but it is very interesting. I imagine a stamp is like a wayang (a shadow puppet). Something that we can play with and combine with the other patterns. Oftentimes, at the studio, I will stare at the stamp collections and think: these could be combined with these. Of course, there is a set of knowledge of what to combine and what NOT to combine.

Talking about wayang, I saw on Instagram that you combine batik with shadow puppet. Can you tell us more about it?

Oh yes, the batik shadow. It is a show. We took the concept of the shadow from a shadow puppet show. We then combined it with the concept of colours from batik. Not specifically batik making, but the technique of dyeing (ed.: and playing with complementing spaces). We combined a few disciplines, including visual arts, performing arts, sound and light arts. We added images, using batik to suit the themes. If it is a commercial event, we add the event concept and narrate it through batik.

It is the background. When we apply colours in the scene – what colours, when does it appear, what is the presentation – they have been carefully calculated. The narratives of the painting, colours and movement mesh together in a performance. 

It also started with a coincidence, when an event organiser from Bandung asked if batik can be “performed”. I suddenly thought of shadow puppet. I said yes, although I have no idea what it would be like. We performed it in the evening and it looked good on the still. We did not have any property then, only the performers running up and down the stage to narrate. We have explored it further since, with additional props to enhance the storytelling.

I believe all your projects are very organic, they follow the conditions and opportunities. 

I believe I am the first one to present this. The latest, I was so elated to combine wayang and tedjo (a traditional Javanese theatre). It was so spectacular. In our village in Yogyakarta, there is a Village Cultural Congress and we created something that was so detailed and so beautiful to combine these two art forms. I was so happy as we managed to collaborate and pull through. Usually, we only perform with our own props but we have a real shadow puppet master performing with us. 

Story-wise, we combined a few figures from Sumatra and Javanese shadow puppets with Garuda and a Corona figure as the chief that leads the battle. That was so cool.

Has it been staged?

Yes. It was performed at the Village Cultural Congress. 

It was a stage performance, or an online performance?

It was a stage performance.

We need to resuscitate economic growth before we talk about cultural preservation. Without belittling batik tulis … handstamped batik is a solution.

A pity, people should go there. What are the Dongaji programs in the future?

For Dongaji, I am still worried as we have not maximised the involvement from the residents around the studio and village. Our mission is to empower the community. We have done that with the paper stamps and shadow batik. Other than creating a batik culture, we also revive the economy. 

When I went for training in the other regions, I did not start with handwritten batik (batik tulis) as we need to resuscitate economic growth before we talk about cultural preservation. I am not belittling batik tulis but it requires a lot of time and they will not get paid fast. Handstamped batik is a solution. We get them (ed.: the artisans) to like it, get paid justly and then they can enjoy the process of creation or if they want to pursue it long term. I think simply: with this simple technique, the economic welfare grows and batik clusters can flourish.

May all the programs can involve everyone, starting from the village first. So, they produced it themselves, including the paper stamps and batik?

Yes. For the stamps, I engage students, both with and without batik background. At the maximum, they can be trained within two days. 

Cool. The materials are easy to get and easy to process, right?

Yes, it is easier. If it fails, the risk is not too high.

Are they college students?

They are college students. I do teach arts for children too at Yogyakarta Cultural Park. I teach them paper stamping. The children are free to draw anything and they make a paper stamped to be stamped onto the cloth. They love it and we exhibit it.

Do they make the stamp or they stamp on the cloth?

They start from the beginning, from designing, making the stamp and finally stamping (ed.: on to the cloth). Still at the beginning, we have not gone through motifs and philosophy. They are free to do anything. It is more to introduce batik making. We have done this for about a year with 2 exhibitions.

Other than processing waste, we can use this as an educational material to introduce them to batik.

My wish is to integrate, for example in the village, the trash bin movement program. How do we process the trash, recycle, upcycle, etc, from start to finish, from how we treasure materials to managing them. That was the big plan in my head and experience teaches me that.

Indeed, that goes along with time. Do you have any final messages for our viewers?

In general, I would like batik to be a vehicle to humanise traditional philosophy that tends to be held up high, or as The Mighty. So we can understand them and use it as a social guide to revive the economy and, as a result, revitalise the heritage. Batik is like a train, regardless of where you are, VIP, Economy or Business class, we are all heading in the same direction, towards prosperity and a better well-being.

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 Indonesia for your home or wardrobe. Contact us if you would like to commission a handstamped batik with Nur.

Photo credit: Omah Kreatif Dongaji, unless stated otherwise.