Batik is one of Indonesia’s cultural heritages that carries deep philosophical values and has a strong connection to national identity. It is not only a textile product but also a form of art and cultural expression. The declining interest of the younger generation in becoming batik artisans, combined with high production costs, has posed challenges to the batik industry. Therefore, technology can serve as a bridge to attract young people to rediscover and take part in the world of batik.
This issue was highlighted in the UMKM Class Series #32 Workshop, organized by the UGM Directorate of Community Service under the theme “Preserving Classical Batik Motifs through Technology”, held on Thursday, Oct. 23, 2025, at the Multimedia Room, UGM Main Building.
Gusti Kanjeng Bendoro Raden Ayu Adipati Paku Alam, commonly known as Gusti Putri, stated that batik is not merely a textile but a work of art and a reflection of one’s soul.
Therefore, it is important to preserve batik motifs as part of Indonesia’s cultural heritage.
She also mentioned four main categories of batik motifs found in Yogyakarta: Parang and Lereng, Ceplok and Kawung, Semen and Lumbungan, and Nitik motifs.
As both a batik artist and cultural preserver, Gusti Putri shared that she often creates batik inspired by ancient manuscripts from the Pakualaman Palace.
She also designs batik pieces for family occasions, such as her children’s weddings.
“For example, the Batara Suryo motif symbolizes the sun and leadership that brings light to the people. Another example is batik Batara Indra, which represents wisdom and education,” she explained.
From an academic perspective, Dr. Laretna Trisnantari Adhisakti, a lecturer at the Department of Architecture and Planning, UGM Faculty of Engineering (FT UGM), and founder of the Jogja Heritage Society, emphasized the need for strategic policies to promote the industrialization of batik within the context of modern fashion dynamics.
She highlighted two main areas that the government and universities could focus on, which are strengthening the role of MSMEs and encouraging academic support for batik preservation.
“As academics, we have developed a summer course curriculum on batik practice, which is joined by participants from around the world through online learning,” she said.
Dr. Adhisakti also discussed the role of technology in the preservation context.
Technology, she noted, could become a threat if it disregards local characteristics, yet it could also serve as an opportunity when used appropriately.
“In world heritage sites, the use of technology must always be adjusted to local contexts to ensure that it does not harm heritage values,” she elaborated.
Meanwhile, Dr. Andi Sudiarso from the Department of Mechanical and Industrial Engineering at FT UGM stated that the use of technology in the batik-making process is not intended to replace traditional craftsmanship, but rather to complement it and enhance production efficiency without diminishing its traditional values.
“Batik can be made through modern methods while preserving its cultural essence. In fact, through technology, batik can grow and gain broader recognition,” he remarked.
Dr. Sudiarso further noted that integrating local wisdom with digital technology will be the key to ensuring the sustainability of batik in the modern era.
Through his own batik enterprise, Batik Budimo, he has developed a Smart Factory Batik 4.0 system that enables global collaboration in batik design while keeping the production process centered in Indonesia.
“Through this innovation, we aim to make batik not only a cultural heritage but also a part of the future creative industry with strong global competitiveness,” he concluded.
Finally, Dr. Rustamaji, UGM Director of Community Service, reaffirmed that Universitas Gadjah Mada remains committed to contributing to the preservation of Indonesia’s cultural heritage and strengthening the role of MSMEs as drivers of the national economy.
According to him, batik represents not only a textile but also a work of art and an expression of Indonesian culture.
Author: Lintang Andwyna
Editor: Gusti Grehenson
Post-editor: Lintang Andwyna
Photographer: Donnie Trisfian