Batik is a Southeast Asian cultural art form where fabrics and textiles are decorated by hand using complex techniques involving wax and dye. Batik products are not only worn as clothing but the fabrics are also used in artworks and household decorations as well. Malaysia is the second largest producer of batik in the world, and most batik entrepreneurs in Malaysia are located in the more rural regions of the country – in particular, they are primarily located in the states of Kelantan and Terengganu on the east coast (Syed Shaharuddin et al., 2021). 

Batik as a Cultural Symbol

Batik is an integral symbol of Malaysian culture, combining aspects of the country’s unique heritage with artistic expression. Traditionally, batik fabrics were mainly worn by royalty and the elite, with its intricate designs and vibrant colours indicating power and social status. Since then, improvements to existing methods have widened accessibility to batik fabrics, making them popular clothing choices across the various social classes. Despite batik being worn across the country, it must be noted that authentic batik production remains rooted in the rural and indigenous communities in Malaysia, where entrepreneurs bring traditional techniques and influences to their craft.

The motifs and designs produced on Malaysian batik fabrics are symbolic and connected to key aspects of Malaysian heritage and culture – they reflect batik entrepreneurs’ creative interpretations of the surrounding community and environment (Naser et al., 2021). In addition to batik being used as a medium for conveying key aspects of Malaysian heritage, batik designs also incorporate repeating geometric patterns, drawing inspiration from Islamic art styles. Furthermore, traditional batik products also feature tropical flowers and plants, including the hibiscus or bunga raya, which is the national flower of Malaysia, as well as the motif of the triangular pucuk rebung plant, which is a prominent symbol in Malay culture (Syed Shaharuddin et al., 2021).

Decline of the Batik Industry in Malaysia

Despite batik being a cultural cornerstone in Malaysia, the Malaysian batik industry has been facing gradual decline in recent years, primarily due to the decrease in batik entrepreneurs across the country. This can be attributed to two main reasons – the development of advanced technologies as well as the lack of youth involvement in maintaining the country’s batik industry.

Firstly, technological advancements have allowed for batik fabrics to be printed rather than produced by hand – this has allowed for mass production of batik products at low costs (Syed Shaharuddin et al., 2021). This has financially hurt rural batik entrepreneurs in Southeast Asia since they rely on manual, labour-intensive production processes to create their art. Looking at statistics, research has highlighted that the imports of printed batik textiles have incurred losses of approximately RM3 million per annum for close to 200 batik entrepreneurs across Malaysia (Syed Shaharuddin et al., 2021). Printed batik textiles are cheaper and are therefore more accessible so consumer demand for traditional batik products has decreased over time. 

Secondly, the lack of youth participation in the batik industry has also contributed to the decline of the field in recent years. It is becoming increasingly challenging to convince younger generations to acquire the relevant skills to pursue a career in the batik industry for a myriad of reasons. To begin with, batik production is a labour-intensive process, requiring a highly specialised skill set. The transfer of skills between generations typically occurs through direct hands-on teaching; this practical approach means learning to produce batik is a long, arduous process, which may make youths hesitant to enter the industry. Furthermore, the diminishing consumer demand for traditional batik products makes pursuing a career in the industry particularly unappealing to younger generations, who would prefer employment in a field with high wages and a stable income source. 

In addition to these economic factors, the disconnect between the Malaysian youth and the batik industry could be attributed to a lack of sufficient cultural exposure and education. Most Malaysian youth in the modern day are brought up in environments heavily influenced by Western ideals, and as a direct result, traditional art forms, including batik, are underappreciated and neglected. Batik is becoming less important and significant of a cultural symbol from the perspective of the youth today, and this is contributing to the ongoing decline of the batik industry in Malaysia. 

The lack of youth engagement with the batik industry has critical implications for the future of Malaysia’s cultural heritage. Cultural sustainability is proving to be a pressing issue in the case of batik production in Malaysia, with research showing that 95.2% of batik entrepreneurs state that the younger generations lack genuine interest in working in Malaysia’s batik industry (Razali et al., 2021). As such, the decline of the batik industry is unlikely to slow down, putting a key symbol of Malaysia’s unique cultural identity at risk of fading away.

Preservation of Batik as an Intangible Cultural Heritage

The gradual decline of Malaysian batik offers a microcosmic insight into a national phenomenon wherein cultural degradation is directly linked to the increase in modernisation in Malaysia. As Malaysia cements its position as a newly industrialised nation, various key aspects of Malaysian culture and heritage are at risk of being overshadowed, or even replaced, by the practices and ideals of the Western world. While I do not intend to criticise modernisation, which has indeed brought about positive growth to the country, there is an undeniable correlation between industrialisation and the deterioration of cultural practices in Malaysia – this poses a concern to the sustainability of Malaysian heritage.

As a Malaysian youth myself, I too am guilty of contributing to this cultural degradation; batik clothing does not find itself on regular rotation in my current wardrobe but is rather only worn at most once a year for traditional celebrations. Even growing up in Malaysia, I have recognised that traditional Malaysian art and culture is appreciated and celebrated much more by tourists in comparison to locals like myself.

Batik is a type of intangible cultural heritage, meaning that its cultural value fluctuates constantly due to changes in societal values within the Malaysian community (Syed Shaharuddin et al., 2021). This contrasts the concept of tangible cultural heritage, which includes items such as the Great Wall of China or the Taj Mahal, whose cultural value remains constant throughout time. Preservation of batik as an intangible cultural heritage comes with a host of challenges and requires the cooperation of multiple parties, including the government, museums and local communities to ensure the cultural sustainability of batik practices in generations to come.

Currently, Malaysian schools and educational institutions are incorporating standardised batik modules in their art curriculums to enhance the cultural awareness and education of the Malaysian youth (Syed Shaharuddin et al., 2021). That being said, more must be done to preserve this aspect of Malaysian culture. To resonate with the digital generation, the integration of technologies such as gamification and augmented reality architecture to enhance the cultural learning experience may be more effective in strengthening the connection between younger generations and their Malaysian heritage. The idea of harnessing technology to ensure cultural sustainability in Malaysia is a particularly interesting concept, especially since technology was initially one of the main reasons driving the decline of the Malaysian batik industry.

Conclusion

To conclude, the decline of the batik industry in Malaysia prompts a broader discussion regarding the impacts of industrialisation on a country’s cultural architecture and heritage. Batik, one of Malaysia’s most prominent cultural symbols, is currently at risk of disappearing from the Malaysian cultural landscape for a variety of reasons, including technological advancements and the lack of youth engagement with the industry. To ensure the cultural sustainability of batik in Malaysia, there must be a conscious effort to enrich cultural awareness among the youth and ensure the sustainability of traditional practices.

Bibliography

Naser, F. L., Khairi, H., Legino, R., & Rosman, R. (2021). Cultural Consciousness: A case study of dying art on Batik Block in Malaysia. Environment-Behaviour Proceedings Journal, 6(SI5), 111–117. https://doi.org/10.21834/ebpj.v6isi5.2935 

Razali, H. M., Ibrahim, M., Omar, M., & Hashim, S. F. M. (2021). Current challenges of the batik industry in Malaysia and proposed solutions. PROCEEDINGS of 8TH INTERNATIONAL CONFERENCE on ADVANCED MATERIALS ENGINEERING & TECHNOLOGY (ICAMET 2020). https://doi.org/10.1063/5.0055651 

Syed Shaharuddin, S. I., Shamsuddin, M. S., Drahman, M. H., Hasan, Z., Mohd Asri, N. A., Nordin, A. A., & Shaffiar, N. M. (2021). A Review on the Malaysian and Indonesian Batik Production, Challenges, and Innovations in the 21st Century. SAGE Open, 11(3), 215824402110401. https://doi.org/10.1177/21582440211040128