REDBASE proudly presents its first batik exhibition at the Redbase Foundation Yogyakarta, titled My Culture on Cotton – The Contemporary Art of Batik. This textile exhibition showcases contemporary batik artworks by four Indonesian artists: Fikky Ananda, Osyadha Ramadhana, Robiatul Asqiah, and Robert x Olga.

Together, these artists present a diverse range of exceptional works that incorporate elements of Indonesian tradition and culture, highlighting regional legends, folklore, everyday life, and the surrounding natural environment.

Since ancient times, Indonesian communities have woven their own textiles using the gedogan loom, a traditional wooden weaving tool. Textiles are generally made from fibres, either natural or synthetic. Natural fibres originate from plants, animals, or minerals, and textiles made from these materials — such as pineapple fibre, bamboo, cotton, and wool — have long served as the foundation for batik-making.

Batik is a highly valued cultural heritage of the Indonesian archipelago, passed down through generations. The earliest records of batik-making practices are associated with the reign of King Wengker before the 7th century, with its development closely connected to the Majapahit Kingdom and the spread of Islam throughout Java, continuing through the Islamic Mataram period and later into the Kasunanan Surakarta and Kasultanan Yogyakarta courts.

Javanese batik, particularly batik Keraton (court batik), is rich with symbolic and philosophical meanings. Closely connected to Javanese cultural philosophy, it is often regarded as possessing spiritual significance. Within royal circles, batik-making was considered a practice of devotion and a means of approaching the divine. The term batik originates from ambatik, meaning fabric containing many dots. However, a patterned cloth can only be considered batik when it undergoes the traditional nyanting process, in which wax is applied using a canting tool.

Historically, batik production was limited to royal environments, where it was used for garments worn by kings, nobles, and court families. However, as nobles and court members living outside palace grounds brought the craft beyond the royal sphere, batik gradually spread throughout society and became an activity embraced by many households.

Batik has long been closely associated with women. Women are traditionally believed to possess qualities of patience, precision, dedication, and refinement, making them central figures in batik production. The transmission of batik knowledge often occurs from mothers to daughters or daughters-in-law.

Women have also played significant roles as business leaders while maintaining responsibilities within the household. In the early 20th century, a group of female batik entrepreneurs in Laweyan, Surakarta, Central Java, became influential figures in the textile trade. Known as Mbok Mase or Nyah Nganten, these women transformed perceptions of Javanese women, who were traditionally confined to domestic roles.

The emergence of the Mbok Mase represented a challenge to the lifestyles of court aristocrats, who were often associated with extravagance, power struggles, status-seeking, and polygamy. Through their leadership in batik commerce, these women reshaped their social position and became important figures in economic and cultural development.

By 1930, Surakarta had become one of the largest batik centres, with approximately 230 batik industries, many located in Laweyan. Under the leadership of the Mbok Mase, the Laweyan community produced tens of thousands of pieces of batik annually. Their contributions extended beyond commerce, as they also supported the growth of national movements through initiatives such as the establishment of the Persatuan Perusahaan Batik Bumiputera Surakarta (PPBBS) cooperative in 1935.

The story of the Mbok Mase demonstrates how batik empowered women through entrepreneurship, from production and marketing to financial management and business development.

Beyond the history of the female batik merchants of Laweyan, the role of women in preserving batik traditions can also be seen among Madurese women through Batik Gentongan of Bangkalan. This distinctive batik tradition is recognised for its unique dyeing process, which uses traditional clay vessels (gentong) to create natural colours.

The significance of Batik Gentongan extends beyond its technique. When Madurese men leave their homes to work at sea, women often dedicate their time to batik-making. The resulting textiles are treated as valuable possessions, comparable to gold or long-term savings, preserved for children and grandchildren as symbols of love and inheritance. Through this practice, Madurese women demonstrate how batik can become a meaningful legacy for future generations.

The story of Madurese women illustrates how batik can hold lasting value, similar to an investment passed through generations. In contrast, a group of women in Pangkal Babu, Tanjung Jabung Barat, Jambi, have used batik as a tool for environmental conservation. Their batik motifs represent the importance of mangrove forests to coastal communities and the biodiversity that depends on these ecosystems.

Through their artworks, these women have contributed to protecting endangered mangrove forests. From the Mbok Mase who demonstrated batik’s role in national economic development, to Madurese women who transformed batik into a family treasure, and the women of Pangkal Babu who used batik to support environmental preservation, these stories reveal the profound social impact of this cultural practice.

Batik motifs continue to evolve according to different places and periods. Through this exhibition, REDBASE participates in the preservation of Indonesian batik by presenting contemporary works created by young Indonesian artists. Their motifs explore everything from traditional legends to contemporary realities.

Robiatul Asqiah, a young artist from Padang, transforms the legend of Rama and Shinta from the Ramayana epic into batik motifs inspired by Balinese Kecak dance. Her works portray Bali as an iconic representation of Indonesia through its traditions and cultural identity. Beyond the Rama and Shinta narrative, she incorporates other Indonesian symbols, including the Garuda (the emblem of Pancasila), Reog Ponorogo, and Indonesia’s diverse flora and fauna. Her works also reflect the generational transmission of batik knowledge inherited from her mother.

Osyadha Ramadhana creates batik motifs inspired by the folklore of the clever mouse deer (kancil), using a doodle art style. For Ramadhana, the story of the kancil remains deeply connected to childhood, teaching children the importance of negotiation, problem-solving, and adaptability. In one of his works, he incorporates natural dyes to represent the relationship between nature’s growth and future generations.

Fikky Ananda’s batik works, which brought him international recognition including exhibitions in France, explore narratives from everyday life. His motifs examine social realities, including the experiences of debt collectors and the corruption surrounding power and influence.

Robert x Olga choose textile as their medium due to its close relationship with everyday life. Their practice combines various materials and techniques, with concepts often emerging from moments of imagination and playful exploration.

Batik deserves global recognition because its techniques embody the symbols, histories, and cultural identities of Indonesia. Since 2009, batik has been recognised by UNESCO as an Intangible Cultural Heritage of Humanity, following other Indonesian cultural traditions such as the keris and wayang. UNESCO acknowledges that Indonesian communities connect batik with significant moments throughout life, from birth to death. Through its diverse motifs, batik reflects the cultural richness and diversity of Indonesia.

Today, batik clothing has become an important part of Indonesian identity, supported by government initiatives including museums and educational spaces dedicated to preserving batik traditions for future generations. This commitment to cultural preservation is one of the reasons REDBASE presents this exhibition — as a platform to celebrate, maintain, and continue the legacy of Indonesian batik.

REDBASE proudly presents its first batik exhibition at the Redbase Foundation Yogyakarta, titled My Culture on Cotton – The Contemporary Art of Batik. This textile exhibition showcases contemporary batik artworks by four Indonesian artists: Fikky Ananda, Osyadha Ramadhana, Robiatul Asqiah, and Robert x Olga.

Together, these artists present a diverse range of exceptional works that incorporate elements of Indonesian tradition and culture, highlighting regional legends, folklore, everyday life, and the surrounding natural environment.

Since ancient times, Indonesian communities have woven their own textiles using the gedogan loom, a traditional wooden weaving tool. Textiles are generally made from fibres, either natural or synthetic. Natural fibres originate from plants, animals, or minerals, and textiles made from these materials — such as pineapple fibre, bamboo, cotton, and wool — have long served as the foundation for batik-making.

Batik is a highly valued cultural heritage of the Indonesian archipelago, passed down through generations. The earliest records of batik-making practices are associated with the reign of King Wengker before the 7th century, with its development closely connected to the Majapahit Kingdom and the spread of Islam throughout Java, continuing through the Islamic Mataram period and later into the Kasunanan Surakarta and Kasultanan Yogyakarta courts.

Javanese batik, particularly batik Keraton (court batik), is rich with symbolic and philosophical meanings. Closely connected to Javanese cultural philosophy, it is often regarded as possessing spiritual significance. Within royal circles, batik-making was considered a practice of devotion and a means of approaching the divine. The term batik originates from ambatik, meaning fabric containing many dots. However, a patterned cloth can only be considered batik when it undergoes the traditional nyanting process, in which wax is applied using a canting tool.

Historically, batik production was limited to royal environments, where it was used for garments worn by kings, nobles, and court families. However, as nobles and court members living outside palace grounds brought the craft beyond the royal sphere, batik gradually spread throughout society and became an activity embraced by many households.

Batik has long been closely associated with women. Women are traditionally believed to possess qualities of patience, precision, dedication, and refinement, making them central figures in batik production. The transmission of batik knowledge often occurs from mothers to daughters or daughters-in-law.

Women have also played significant roles as business leaders while maintaining responsibilities within the household. In the early 20th century, a group of female batik entrepreneurs in Laweyan, Surakarta, Central Java, became influential figures in the textile trade. Known as Mbok Mase or Nyah Nganten, these women transformed perceptions of Javanese women, who were traditionally confined to domestic roles.

The emergence of the Mbok Mase represented a challenge to the lifestyles of court aristocrats, who were often associated with extravagance, power struggles, status-seeking, and polygamy. Through their leadership in batik commerce, these women reshaped their social position and became important figures in economic and cultural development.

By 1930, Surakarta had become one of the largest batik centres, with approximately 230 batik industries, many located in Laweyan. Under the leadership of the Mbok Mase, the Laweyan community produced tens of thousands of pieces of batik annually. Their contributions extended beyond commerce, as they also supported the growth of national movements through initiatives such as the establishment of the Persatuan Perusahaan Batik Bumiputera Surakarta (PPBBS) cooperative in 1935.

The story of the Mbok Mase demonstrates how batik empowered women through entrepreneurship, from production and marketing to financial management and business development.

Beyond the history of the female batik merchants of Laweyan, the role of women in preserving batik traditions can also be seen among Madurese women through Batik Gentongan of Bangkalan. This distinctive batik tradition is recognised for its unique dyeing process, which uses traditional clay vessels (gentong) to create natural colours.

The significance of Batik Gentongan extends beyond its technique. When Madurese men leave their homes to work at sea, women often dedicate their time to batik-making. The resulting textiles are treated as valuable possessions, comparable to gold or long-term savings, preserved for children and grandchildren as symbols of love and inheritance. Through this practice, Madurese women demonstrate how batik can become a meaningful legacy for future generations.

The story of Madurese women illustrates how batik can hold lasting value, similar to an investment passed through generations. In contrast, a group of women in Pangkal Babu, Tanjung Jabung Barat, Jambi, have used batik as a tool for environmental conservation. Their batik motifs represent the importance of mangrove forests to coastal communities and the biodiversity that depends on these ecosystems.

Through their artworks, these women have contributed to protecting endangered mangrove forests. From the Mbok Mase who demonstrated batik’s role in national economic development, to Madurese women who transformed batik into a family treasure, and the women of Pangkal Babu who used batik to support environmental preservation, these stories reveal the profound social impact of this cultural practice.

Batik motifs continue to evolve according to different places and periods. Through this exhibition, REDBASE participates in the preservation of Indonesian batik by presenting contemporary works created by young Indonesian artists. Their motifs explore everything from traditional legends to contemporary realities.

Robiatul Asqiah, a young artist from Padang, transforms the legend of Rama and Shinta from the Ramayana epic into batik motifs inspired by Balinese Kecak dance. Her works portray Bali as an iconic representation of Indonesia through its traditions and cultural identity. Beyond the Rama and Shinta narrative, she incorporates other Indonesian symbols, including the Garuda (the emblem of Pancasila), Reog Ponorogo, and Indonesia’s diverse flora and fauna. Her works also reflect the generational transmission of batik knowledge inherited from her mother.

Osyadha Ramadhana creates batik motifs inspired by the folklore of the clever mouse deer (kancil), using a doodle art style. For Ramadhana, the story of the kancil remains deeply connected to childhood, teaching children the importance of negotiation, problem-solving, and adaptability. In one of his works, he incorporates natural dyes to represent the relationship between nature’s growth and future generations.

Fikky Ananda’s batik works, which brought him international recognition including exhibitions in France, explore narratives from everyday life. His motifs examine social realities, including the experiences of debt collectors and the corruption surrounding power and influence.

Robert x Olga choose textile as their medium due to its close relationship with everyday life. Their practice combines various materials and techniques, with concepts often emerging from moments of imagination and playful exploration.

Batik deserves global recognition because its techniques embody the symbols, histories, and cultural identities of Indonesia. Since 2009, batik has been recognised by UNESCO as an Intangible Cultural Heritage of Humanity, following other Indonesian cultural traditions such as the keris and wayang. UNESCO acknowledges that Indonesian communities connect batik with significant moments throughout life, from birth to death. Through its diverse motifs, batik reflects the cultural richness and diversity of Indonesia.

Today, batik clothing has become an important part of Indonesian identity, supported by government initiatives including museums and educational spaces dedicated to preserving batik traditions for future generations. This commitment to cultural preservation is one of the reasons REDBASE presents this exhibition — as a platform to celebrate, maintain, and continue the legacy of Indonesian batik.

Curated by Herdina Maya Purwoko