Visual narrative of ethnic identity: preserving Chinese culture through traditional hand-drawn batik Lasem

Dwi Asih Haryanti; Tri Wahyu Retno Ningsih; Ayesa Ayesa; Debyo Saptono

doi:10.33153/dewaruci.v20i1.6483

Authors

Dwi Asih Haryanti Faculty of Economic, Universitas Gunadarma, Depok
Tri Wahyu Retno Ningsih Faculty of Letters and Cultures, Universitas Gunadarma, Depok
Ayesa Ayesa Faculty of Letters and Cultures, Universitas Gunadarma, Depok
Debyo Saptono Faculty of Electrical Engineering Universitas Gunadarma, Depok

DOI:

https://doi.org/10.33153/dewaruci.v20i1.6483

Keywords:

Visual narrative, Ethnic identity, Lasem hand-drawn batik, Chinese-Indonesian culture

Abstract

Lasem, a coastal town in Central Java, Indonesia, is well known for its unique batik that blends cultural influences from both Chinese and Javanese. The study explores how traditional hand-drawn batik Lasem functions as a visual narrative representing Chinese ethnic identity and helps preserve culture in Indonesia’s diverse society. Through qualitative research, data were collected through purposive sampling of key informants, namely artisans and batik entrepreneurs at the ‘Kidang Mas’ batik center in Lasem. Data collection techniques include in-depth observation, semi-structured interviews, and visual documentation of the batik-making process. The researchers used thematic analysis to examine repeated patterns, cultural symbols, and meaning in the batik-making process. The findings exhibit cultural preservation in practices such as using canting tools, applying nature-based designs, and incorporating symbols from Chinese mythology. These motifs are decorative and tell stories regarding belief, values, and cultural identity. This study adds to discussions on intangible cultural heritage by showing that traditional batik is more than simply ‘an art’ but a living expression of Chinese-Indonesian identity. The combination of symbolic and local elements reflects cultural strength and adaptation, highlighting hand-drawn batik Lasem in keeping minority identities in Indonesia visible in Indonesia’s multicultural society.

Downloads

Download data is not yet available.

References

[1] S. N. Lestari and N. S. Wiratama, “Dari Opium Hingga Batik: Lasem Dalam ‘Kuasa’ Tionghoa Abad XIX-XX,” Patra Widya Seri Pnb. Penelit. Sej. dan Budaya., vol. 19, no. 3, pp. 253–270, 2018.

[2] M. Jaeni, N. Hidayati, and S. Idris, “Laseman Hand-Drawn Batik Motifs and Socio-Religious Life Patterns of The Lasem Community,” el Harakah J. Budaya Islam, vol. 26, no. 1, pp. 204–226, Jun. 2024, doi: 10.18860/eh.v26i1.26617.

[3] A. A. P. Utomo, H. Joebagio, and D. Djono, “The Batik Latoh as the Result of Maritime Culture of Lasem Community,” Int. J. Multicult. Multireligious Underst., vol. 5, no. 3, p. 19, Jun. 2018, doi: 10.18415/ijmmu.v5i3.136.

[4] M. D. Rahayu and S. Alrianingrum, “Perkembangan Motif Batik Lasem Cina Peranakan Tahun 1900-1960,” J. Pendidik. Sej., vol. 2, no. 2, pp. 36–49, 2014.

[5] K. William, “Eksplorasi Sejarah Batik Lasem,” Jakarta Penerbit IPI, 2010.

[6] A. Nova Putra, H. Hendra, R. Ayu Wahyuningputri, F. Levyta, W. Arafah, and N. Nurbaeti, “role of stakeholders in creating memorable tourist experience in Benteng Heritage Museum, Tangerang,” J. Tour. Culinary, Entrep., vol. 2, no. 1, pp. 54–68, Apr. 2022, doi: 10.37715/jtce.v2i1.2474.

[7] M. A. Asy Syahid and K. R. Kurniawan, “‘No Fort in Fort City’: Lost Heritage and The Shift of Urban Conservation in Tangerang, Indonesia,” IOP Conf. Ser. Earth Environ. Sci., vol. 213, p. 012046, Dec. 2018, doi: 10.1088/1755-1315/213/1/012046.

[8] J. H. Fujimura, “On Methods, Ontologies, and Representation in the Sociology of Science: Where do We Stand?,” in Social Organization and Social Process, New York: Routledge, 2024, pp. 207–248. doi: 10.4324/9781315547169-16

[9] A. Barnard and J. Woodburn, “Property, power and ideology in hunter-gathering societies: an introduction,” in Hunters and Gatherers (Vol II), London: Routledge, 2024, pp. 4–31. doi: 10.4324/9781003571988-1

[10] S. Hall, “The work of representation,” in The Applied Theatre Reader, Second edition. | Abingdon, Oxon; New York, NY: Routledge, 2020.: Routledge, 2020, pp. 74–76. doi: 10.4324/9780429355363-15

[11] M. W. Bauer and G. Gaskell, “Towards a Paradigm for Research on Social Representations,” J. Theory Soc. Behav., vol. 29, no. 2, pp. 163–186, Jun. 1999, doi: 10.1111/1468-5914.00096.

[12] I. Galli, R. Fasanelli, and E. Schember, “The construction of icons as a means of access to the social representation of culture,” Cult. Psychol., vol. 24, no. 2, pp. 212–232, Jun. 2018, doi: 10.1177/1354067X17721860.

[13] K. Selvi, “Phenomenological Approach in Education,” in Education In Human Creative Existential Planning, Dordrecht: Springer Netherlands, 2008, pp. 39–51. doi: 10.1007/978-1-4020-6302-2_4

[14] K. Lee, “A Work of Art: Evocative Writing and Lived Experience Descriptions for Networked Learning Research,” in Phenomenology in Action for Researching Networked Learning, 2024, pp. 63–80. doi: 10.1007/978-3-031-62780-4_4

[15] M. Lamont, “Culture and Identity,” in Handbook of Sociological Theory, Springer US, 2001, pp. 171–185. doi: 10.1007/0-387-36274-6_9

[16] P. R. Brass, “Elite Groups, Symbol Manipulation and Ethnic Identity among the Muslims of South Asia,” in Political Identity in South Asia, London: Routledge, 2024, pp. 35–77. doi: 10.4324/9781032715575-2

[17] P. Bourdieu, Outline of a Theory of Practice. Cambridge University Press, 1977. doi: 10.1017/CBO9780511812507

[18] C. Córdova, N. Holfester, and K. Ohmori, “Representation theory of solitons,” J. High Energy Phys., vol. 2025, no. 6, p. 1, Jun. 2025, doi: 10.1007/JHEP06(2025)001.

[19] H. K. Bhabha, The Location of Culture. Routledge, 2012. doi: 10.4324/9780203820551

[20] R. A. P. DeZalia and S. L. Moeschberger, “The Function of Symbols that Bind and Divide,” in Symbols that bind, symbols that divide: The semiotics of peace and conflict, 2014, pp. 1–12. doi: 10.1007/978-3-319-05464-3_1

[21] R. Q. Arswinda, N. Nurhadi, and S. Zuhri, “Social Networks in Batik Enterpreneurs in Kampung Batik Laweyan Surakarta,” Syntax Lit. ; J. Ilm. Indones., vol. 8, no. 7, pp. 4882–4893, Jul. 2023, doi: 10.36418/syntax-literate.v8i7.12855.

[22] P. Nugroho, M. Damayanti, A. Artiningsih, D. Lestari, and N. R. Putri, “Missing Policy for Supporting Cultural Heritage Preservation of Batik Industry Clusters in Barlingmascakeb Region, Indonesia,” IOP Conf. Ser. Earth Environ. Sci., vol. 1082, no. 1, p. 012017, Sep. 2022, doi: 10.1088/1755-1315/1082/1/012017.

[23] H. K. Bhaba, The Location of Culture. New York: Routledge, 1994.

[24] M. H. Purnomo, “Multiculturalism Practices Associated with the Production of Batik in Lasem-Indonesia,” Int. J. Glob. Community, vol. 1, pp. 109–124, 2018.

[25] Y. Setyoningrum, C. C. Lukman, and S. Rismantojo, “Visual Style of 21 Intelectual Property Right (IPR) Certified Lasem Batik Motifs as the Expression of Cultural Hybridity,” Humaniora, vol. 10, no. 3, p. 175, Nov. 2019, doi: 10.21512/humaniora.v10i3.5680.

[26] N. D. Mahesti, E. Sugiarto, and R. Nugrahani, “Symbolic Values and Meanings in Lasem Batik Motives,” Catharsis, vol. 12, no. 1, pp. 45–53, 2023.

[27] A. Rizkyhimawan, E. Sugiarto, and W. Wibawanto, “Genealogical Inheritance Model of Javanese Coastal Batik: a Double Case Study on Batik-Making Families in Lasem and Tuban,” Catharsis, vol. 13, no. 1, pp. 9–24, 2024.

[28] M. Rahmah and A. Sulistyono, “The Integration of Traditional Knowledge and Local Wisdom in Mitigating and Adapting Climate Change: Different Perspectives of Indigenous Peoples from Java and Bali Island,” in Traditional Knowledge and Climate Change, Singapore: Springer Nature Singapore, 2024, pp. 61–80. doi: 10.1007/978-981-99-8830-3_4

[29] Koentjaraningrat, Metode Penelitian Masyarakat. Jakarta: PT. Gramedia, 1998.