Rock on the Java coast: Reproduction of gedhog woven batik culture amidst global fashion development (Tuban community life ritual media)

Abstract

Amidst the terribly rapid changing world of fashion, local Indonesian people are able to maintain the authenticity of their local fashion. The ability to preserve authenticity is reflected in the unique and distinctive nuances of local Indonesian batik. By focusing on the Tuban community, specifically on their life cycle rites, this study aims to reveal the reproductive capacity of the local Indonesian community. Using a qualitative approach, this study discloses how to reproduce the gedhog woven batik cloth in Kerek Village, Tuban, through rituals that are part of their life cycle from birth, marriage, and death. This concept is carried out by ritual rites at various periods of human life, all while wearing gedhog weaved batik cloth, which is regarded a traditional textile (wastra). This survival of batik gedhog against global fashion development. By conducting in-depth interviews, documentation and observation, these specific data was obtained from the raw materials of gedhog batik cloth available. This study found that ritual activities underpin the existence of gedhog woven batik and it is passed on to the younger generation not to mention the economic benefits it provides. This research contributes to increase the economy for women weavers and batik artisans who carry out activities in their yard as a daily activity. The results of this study have the possibility to become materials for local governments to make policies related to the efforts in increasing the production of batik and gedhog woven craftsmen at the local and national levels.

Keywords:

• culture
• weaving
• fashion
• tuban
• ritual and life cycle

1. Introduction

The current status of global fashion is undergoing substantial changes. Overall, three major influences are at work here: inflation, geopolitical climate instability, and supply chain disruptions (Amed et al., 2022). Global fashion defined as “not only clothes, shoes, and accessories, but also natural textiles and manufactured fabrics” (Jones, 2017). Furthermore, market volatility, energy, and capital markets; rising interest rates, regulatory changes, and the COVID-19 epidemic are all affected, albeit in a slight measure (Amed et al., 2022).

In Indonesia, the import trend of used clothing has significantly increased both in terms of value and volume. The Central Statistics Agency (BPS) noted that Indonesia’s second-hand clothing imports reached 26.22 tons with a value of US$272,146 in 2022. This amount increased by 230.40% compared to the previous year, which was 7.94 tons with a value of US$44,136 (Finaka, 2023).

In post-Covid-19 conditions, the need for clothing from well-known brands which are of higher quality but at relatively low prices has become a factor in increasing imports of used clothing (Jokowi Larang Penjualan Baju Bekas, Pedagang dan Pembeli Meradang, 2023). The President of the Republic of Indonesia, Joko Widodo, saw this as a nuisance for the domestic textile industry (Natha, 2023).

Using these data, there is a variety of responses coming from various stakeholders such as the government that have issued a series of regulations prohibiting the import of used clothing (Kemendag Musnahkan Pakaian Bekas Impor Senilai Rp10 Miliar, 2023); the private sector through the Indonesian Fashion Chamber, a local fashion association, has declared the use of sarongs as a new style of fashion specifically for daily activities (Mone, 2023); and the community. All these phenomena have brought back the culture of using fabrics that represent one of the traditions in Tuban, namely gedhog woven batik. The cloth is used as a complement to clothing for certain events carried out by community with the support of the government as an effort to generate activity and local fashion production. Overall, the fashion industry encounters several obstacles at both the international and domestic scales, which may impede the progress of local fashion.

Studies that examine the survival of batik tend to be in three categories; 1) studies related to batik decoration and its utilization (Kusrianto, 2021; Smend & Harper, 2016; Sunarya, 2014); 2) the influence of trade and location on the development of textile traditions (Achjadi, 2015); and 3) studies on the combination of colors in the decoration of gedhog woven batik (Achjadi & Natanegara, 2010; Heringa, 2010; Maziyah, 2022; Sholikhah et al., 2020). These studies have not meticulously discussed the gedhog woven batik which has survived and been reproduced today since this kind of batik is still used in the ongoing ritual activities. It is quite clear that there is a strong relationship between batik and woven with various dimensions of local culture that influence the existence and sustainability of gedhog woven batik.

The purpose of this study is to fill the gaps between the existing studies by looking at the relationship between batik and weaving in the traditions prevailing in a particular community. Batik and weaving cloths, presumably, have so much to do with the meaning relation in a socio-cultural system that prevails in the community. In line with that, this paper explains how batik has relevance to the process of cultural products in society. Specifically, this research answers the question of how the Tuban gedhog woven batik tradition is able to survive in the face of the massive global fashion products that influence the local community.

This study departs from an argument that the survival of traditions in community, such as batik and weaving traditions, is closely related to the human life cycle. The gedhog woven batik in the Tuban community has significant role in their life cycle rituals. Accordingly the life cycle is a strength and capital, with the provision of the sustainability efforts and the practice from generation to generation. With these efforts, the existence of gedhog woven batik as part of cultural identity will be sustainable. At the same time, the needs for ceremonial clothing, which is a cultural requirement, can be the reason for the production of knowledge and skills for making traditional cloth (wastra), which is used as a medium for rituals in the human life cycle. This argument will be discussed in the discussion section.

2. Literature review

2.1. Cultural reproduction

As stated by Bourdieu, cultural reproduction is something that involves patterns of behaviour that are used by social actors within a particular scope (such as education, social, and culture), which are used consistently (Nur, 2021). This cultural reproduction takes place in an environment in order to maintain the status of the dominant class (Apple, 2017). In this case, the idea serves to reveal a dynamic process, which, on the one hand, is the stagnation and determination of social institutions and, on the other hand, is the innovation and agency inherent in social practice (Johnson, 2013). As a process, the local culture emerges, enters, reproduces, and like all social processes, it serves as a foundation and parallel framework for social action or practice (Bynner et al., 2019)

The challenge of social and cultural reproduction, in Durkheim’s statement, is not to expose its existence behind the misleading facade of ideological change, but to find a communal secular creed that is suitable and able to guarantee the reproduction of solidarity in the face of change (Donkers, 2014). Therefore, Durkheim argues that cultural reproduction and conformity through change are equally important (Pendenza & Lamattina, 2018). Meanwhile, the formation of society itself is not evolutionary but morphological so that certain systems keep being reproduced (Appadurai, 2015). The Durkheimian tradition has an optimistic, even positivist perspective on reproduction; its metaphors unite rather than polarize, and its motives integrate (Wexler, 2017). In the end, these factors such as changes in place of residence, social background, and cultural background encourage the occurrence of cultural reproduction that put more colours to the group or ethnic identity (Lundberg, 2015).

2.2. Local fashion (Gedhog Woven Batik)

Overtime, the fashion industry has experienced very rapid development (Turker & Altuntas, 2014). The current evolution of fashion has had a significant impact on culture, socio-politics and the economy (Chemere, 2022). The findings show that the development of fashion clusters is also driven by the existence of a knowledge base and competencies historically linked to artisanal traditions and the gift of cultural and creative assets (Lazzeretti & Oliva, 2018). Moreover, the expansion of the idea of cultural and creative industries enriches the economic picture with various new innovations ranging from activities involving handicrafts, fashion, and culture as well as new geography of economic organization (Gregory, 2016). Meanwhile, the decision to buy local fashion items themselves is influenced by product selection, brand, transaction time, and payment method (Hracs et al., 2013). The means of fulfilling these aesthetic needs are influenced by culture and work in tandem with other cultural elements (Kaiser & Green, 2021).

Figure 1: map of Tuban regency.

Source: https://peta-hd.com/peta-kabupaten-tuban-hd-lengkap-gambar-dan-keterangannya/

Thanks to its distinctive quality, batik, as a local fashion, enjoys the love of the Indonesians and foreigners (Raya et al., 2021). Batik has been a source of income for Javanese women since ancient times (Elliott et al., 2013). The activities concerning batik were mostly involved women, but over time, men began to participate in such activities (Pinta, 2013). The position of batik in the context of fashion and all things related to batik is a mix of culture and art that is integrated functionally and psychologically, and certain communities support it (Wiryomartono, 2016). At all times, batik is a work of art created as an expression and affirmation of aesthetic sensations and it stimulates the perspectives, goals, needs and ideas that dominate it (Purnomo, 2020). Batik aesthetics is assessed on the grounds of the principles practiced by the community and it is inherited consistent with the values and principles that are common practices in the culture of the community (Sandy et al., 2023). Consequently, batik as apparel is one of the traditions that the Javanese Ethnic community maintains even when occupying other regions, such as Malaysia (Sunarti et al., 2021).

Specifically, gedhog woven batik is batik embedded in gedhog woven. Gedhog weaving itself is a fabric that is produced from processing cotton threads with traditional gedhog looms. The term gedhog is the sound produced from the collision of several parts of the loom’s wooden blades when used (Djoemena, 2000; Kerlogue, 2004; van Oss, 1996). This cloth then goes through the traditional batik process with hot wax and canting. The uniqueness of batik in Kerek Village, Tuban, is on the spun cotton threads, woven so that they are textured, then the processing of the batik and the colour dyeing using natural materials are manually done (Achjadi & Natanegara, 2010; Heringa, 2010). It is assumed that in the past gedhog woven batik was made as clothing in the form of long cloth (jarit) and shawl (sayut) as a complement to traditional ceremonial facilities or worn as everyday clothes used by the people of Tuban, both men and women, young and elderly people. Currently gedhog woven batik is still used by certain members of community who still follow the customs of their ancestors.

2.3. Life-cycle rites (rites de passage)

In life-cycle rites, the framework of cultural experience provides space to express ethnic originality and affirmations from parties outside the ethnic group (Shneiderman, 2015). Life cycle rites reflect the morals of community because they are closely and directly related to people’s daily lives (Myerhoff, 2019). Life-cycle rites, which are referred to as transitions in the scientific literature act as guardians of a wider and more significant final destination than life-spaces and have a different ontological basis in which symbolism also provides value (Hockey & James, 2017). According to Turner, there are three stages of life cycle rites, namely the transition or liminal stage, social significance, and religiosity (Kyalo, 2013).

Some examples of life cycle rites include social puberty (entering adulthood), initiation ceremonies into certain groups or careers, marriages, and funerals (Williams, 2016). One of the most significant religious practices is the initiation ceremony, which also includes acceptance into secret communities and special callings in addition to initiation into adult status in society (Kyalo, 2013). Initiation ceremonies for certain organizations or fraternities composed of elite class persons who have demonstrated that they have special abilities to comprehend the sacred mysteries or are endowed with extraordinary spiritual gifts are common in many countries in addition to social puberty rites (Davis-Floyd, 2022). Tribal or class lines are often blurred upon joining sacred organizations, and entry may require a long series of rites (Bocock, 2020). Marriage is also surrounded by many traditions such as throwing rice or grains between the bride and groom, separating the bride and groom for certain period of time, exchanging rings and so forth (Burch, 2019). The community has a distinctive relationship with Islamic religious regulations by engaging in ritual acts anchored in local wisdom (Miswar et al., 2022).

3. Methods

This research focuses on the study of gedhog woven batik in Kerek Village area, Tuban, in East Java. The choice of locus for this study was based on three important reasons: firstly, because the existence of these woven products is still inherent in the traditions of the Tuban people today; secondly, there are still centres for batik and weaving home industries in Kerek Village (inland area of Tuban Regency, about 24 km from Tuban City); thirdly, there are groups of indigenous peoples who still use traditional cloth (wastra) for human life cycle ritual activities. This wastra cloth is usually used for birth rituals with the Pecotot Beton (jackfruit seeds) pattern, wedding rituals with the Sri Gunting Bird pattern and the Ganggeng (aquatic plant) pattern used in daily activities to work in the fields, and the rituals at death ceremonies using cloth with the motif of Kijing Miring (tilted gravestone).

This study used a qualitative method by conducting grounded research on gedhog weaving in Tuban, East Java. Data used was obtained through interviews, documentation, and observation. Interviews were conducted to acquire knowledge about cultural customs, manufacturing techniques, the role of farmers, artisans, sellers and users. Documentation works were carried out to perpetuate a number of objects used related to the gedhog woven fabric production ecosystem, ranging from planting cotton, the spinning and weaving process and batik. Observations were conducted to find the relationship between the use of traditional cloth in cultural events, material objects, the environment, the role of artisans, and the role of the government.

Data collection is carried out in three ways. First, interviews with 14 informants consisting of 2 indigenous actors, 4 artisans, 2 cloth sellers, 1 cotton farmer, 3 cloth users, and 2 cloth observers from government agencies. The number of informants represents the production ecosystem of Tuban gedhog woven batik based on the criteria the division of functions and tasks for each individual. Second, visual documentation in the form of photos and films of the objects of the fabrics studied, the environment where the people of Kerek Village live, as well as flora and fauna (Wijayanti, 2023)., Third, observations were conducted in three villages: Tegalrejo Village, Kerek Village, and Gajih Village. Direct observations were also done on the model of planting cotton plants and the making of weaving and batik cloth.

To analyse the collected data, this study uses three visualization concepts of cotton colour, fabric decoration, visual elements, and fabric function values: (1) The concept of visualization research methods (Gray & Malins, 2016) used in analysing the object matter; (2) The concept of visual elements (Feldman, 1992), which discusses the visual elements of object matter such as: lines, shapes, colours, textures, and lightness and darkness; (3) The aesthetic concept of colour (van Leeuwen, 2011) discusses colours as a symbol of expression of ideas, values, purity, religion, values of kindness, and decency. Furthermore, this visualization analysis is associated with the human life cycle; regarding birth, marriage and death (Sedyawati, 2007), and the human life cycle which consists of five stages (Kanjeng, 1987): (1) customs during the period in the womb, (2) customs of birth, (3) the customs of youth include circumcision, (4) the customs of marriage, and (5) the customs of death. The custom means an action or way of behaving that is usual and traditional among the people in a particular group or place (Britannica Dictionary, 2023). Chart 1 shows the relationship between Three Visualization Concepts and Stages of Human Life-Cycle.

Chart 1. Relationship between three visualization concepts and human life cycle stages.

Source: Researcher Analysis, 2023.

4. Results

This research unveils the activities of batik making that develop in the gedhog and decorative batik woven traditions, in which significant knowledge and philosophical values are in place. This can be traced in the use of natural materials and certain traditional methods in the manufacture of woven and batik fabrics, the depiction of motifs inspired by the surrounding environment to symbolize each step of the life cycle, and the use of certain fabrics for certain events contained in that cycle. Gedhog woven batik is not only made to meet aesthetic needs, but also has its own meaning and position in the social order related to the social way of life of the Tuban people in the form of life cycle rites which have become a hereditary tradition.

4.1. Independence and traditionality of gedhog woven batik production

Batik production has been carried out independently and continuously from the colonial period to the present day, starting with the Forced Cultivation System which required cotton plants to be planted in the Tuban area. The production of Tuban gedhog woven cloth starts to grow, and then it develops into a tradition of weaving and batik making. An interview with a farmer (NH/38) who works as a cotton planter reveals that cotton flowers are still needed because of the tradition of making batik using two types of cotton, white flowered cotton and brown flowered cotton. The cotton plants are planted in an intercropping system as explained in Table 1 with three planting models: planting cotton in pots, intercropping systems between corn and rice plants, and planting in the yard as a decoration that can be used as a base material.

Table 1. Intercropped cotton growing system

Cotton plants in pot	Cotton plants using intercropping system	Cotton plants in the yard

Source: Author’s document, 2021.

Table 1 shows that the series of embodiments of the woven fabric, which began with the planting of cotton plants, was formed from the tradition of using space in the gaps of the corn plants which was the creativity of the women of Tuban. At the same time, the women weavers (SR/48 and YD/35) provided information that taking advantage of the opportunity to weave is part of their routine activities, which are carried out manually and independently. Weavers and batik makers (KR/55 and JS/35) provided information on the process of making cloth, that is, the process of making cloth starts with picking cotton flowers and then spinning them into yarn. The next step is to weave threads to make a piece of cloth, then the batik process. The process of making woven fabrics is visualized in Table 2.

Table 2. The process of making cotton flower-based woven fabrics

1	2	3	4	5
(1) Cotton plant (Gossypium hirsutum) with white flowers is named lawe, (2) Brown coloured cotton flowers are called lawa, (3–4) Yarn produced from spinning, and (5) Woven cloth ready to be processed using wax-resist method.

Source: Author’s documentation, 2021.

Table 2 illustrates the origin of woven fabrics from two colours of cotton: lawe (the white flowers) and lawa (light brown flowers). The cotton is then made into yarn. Next, the yarn is spun to make woven cloth. After becoming a woven fabric, the colour of the cotton is maintained. In the next stage, the woven fabric is ready for the batik process. Batik making is usually done at home (see Table 3). Interviews with batik users (RI/55, AS/60, and DM/55) revealed that batik is still in demand by batik lovers or those who are admirers, observers, users and collectors. Other than that, they also serve as protectors of the existence of gedhog woven batik cloth in the midst of today’s modern fashion developments.

Table 3. Weaving and making batik activities

Production of gedhog woven in Tegalrejo Village	One of the activities of batik making in Gajih Village

Source: Author’s document, 2021.

The table above shows a trend in batik production involving weaving and batik crafting (hand-written batik) home industries, which are produced manually. This creative process is supported by cloth sellers (ABT/35, and N/27) who, according to the findings in the field, sell batik woven fabrics directly, indirectly (on line), and manage consumer orders. There are four main elements that support each other in manual industrial batik production: (1) Availability of human resources in weaving and batik production, (2) There are communities that use traditional cloth as a means of traditional ceremonies and collection products (see Table 4). (3) The role of the government in supporting the protection of regional culture by establishing work program activities, and assisting in certifying legal protection on communal intellectual property, and (4) Private sector support for batik and weaving work programs by demonstrating the use of traditional fabrics as a fashion element in fashion shows globally.

Table 4. Activities of the wastra lovers communities

An example of event that put the focus on traditional cloth as part of modern fashion theme (Indonesian Fashion Chamber), 2022

Source: Author’s document, 2022– 2023.

4.2. Environment as a source of decorative gedhog woven batik

The ornaments and decorative elements on the cloth represent the creative imagination of the makers, which is inseparable from the environment in which they live (see Table 5). The living environment inspires the application of colour as a symbol for decorative elements that will represent each age of the user so as to create an aesthetic appearance (see Table 6). Forms of flora and fauna such as the shape of the Sri Gunting bird are the inspiration for the Pecotot Beton fabric motif; cotton flowers and leaves are the inspiration for the motif of the Sri Gunting Bird; and the shape of the tombstone (kijing) is the inspiration for the cloth with the motif of tilted tombstone (see Table 7).

Table 5. The natural environment as a source of ideas for decorative fabric

Ornaments of gedhog woven batik	Nature, flora and fauna
Details of Pecotot Beton motif (jackfruit) consisting the shape of kawung and bird	Source: http://www.traveljaya.com/2014/07/ macam-macam-burung-srigunting-yang-ada.html
Details of Sri Gunting bird, cotton flowers and leaves	Cotton flower petals and indigo leaves Source: Author’s documentation, 2021
Details of Ganggeng motif	https://fajar.co.id/2022/11/11/7-manfaat-menakjubkan-rumput-laut-wanita-pasti-suka/
Tilted tombstone motif	https://jateng.tribunnews.com/2013/12/18/warga-semarang-dilarang-pasang-kijing

Source: Author’s document, 2022

Table 6. Colour as symbol

Natural dyes: The colours used are eco-friendly dyes, sourced from nature. The red colour comes from noni root, the blue colour comes from indigofera leaves, and the brown colour comes from the wood of the soga tree.

Source: Author’s documentation, 2022

Table 7. Shapes as decorative elements

Decorative elements: The dominant decorative elements used on the cloth include stylized shapes of birds, flowers, leaves, and geometric shapes.

Source: Author’s documentation, 2022.

Ornaments originating from the environment, in which they live, as explained in Tables 6, 7 and 8, indirectly reflect the people’s character. The location of Tuban, which is on the coast of the northern part of Java Island, adjacent to the villages of Jenu and Palang, has a unique coastal environment with beaches and community life as fishermen (see figure 1). While Kerek Village is located in the interior that has natural conditions in the form of lowlands with rice fields and the typical life of the people who make a living as farmers and fishermen, has the characteristics of a spontaneous, assertive and dynamic community. This can be seen in the Ganggeng patterned cloth which shows the plants on the beach which later became the inspiration for the cloth motifs worn by women while working (see Table 8).

Table 8. Community environment in Tuban and Kerek Village

Tuban coastal area with fishing vessel	Environment of residential area
Kerek Village environment: lowland and rice fields.	Local people process fish as food

Source: Author’s documentation, 2020.

In the realm of art, a product (object) can be basically categorized as fine art and function art. Gedhog woven batik cloth is considered function art. The functional values of the cloth include: (1) having physical values, as a cloth woven and batik with certain decorations (art products in the form of cloth with cotton thread material, measuring 90 × 200 cm, using weaving and wax-resist dyeing techniques, has a decorative variety certain clothes, and functions as a cloth covering the body, covering the lower waist and covering the casket); (2) becomes a symbolic value, as a cloth with a certain motif that has a purpose for its users. Based on interviews with traditional actors (UH/53) who provided information about the symbol used in the decoration of the jackfruit shape on the Pecotot Beton motif cloth as a symbol of birth; the shape of a Sri Gunting bird motif as a symbol of happiness; the sea plant shape of the Ganggeng motif symbolizes healing; and diagonal geometric shapes with the motif of Kijing Miring (tilted tombstone) as a symbol of a tomb or tombstone, and (3) it has economic value, namely cloth can be traded as a cultural product.

The natural wealth of flora and fauna environment such as: the Sri Gunting bird that lives in rice fields, jackfruit, sea plants, alongside with the shape of a gravestone are objects that can be found in the Tuban area and its surroundings. This has been the inspiration for the decoration on the motifs of the Sri Gunting Bird, Pecotot Beton pattern, Ganggeng, and Kijing Miring, which are respectively used at the stages of birth, marriage, and death. All these decorations show the interrelated relationship between the environment where one lives and the character of the community which can be traced in the creativity in making decorative gedhog woven batik cloth. These also unveil the character of a community that is straightforward, spontaneous and dynamic. Other than that, government agencies also support cultural preservation efforts so that these activities become local cultural identities that can be maintained. By making these efforts cultural products are not eroded by the strong influence of globalization, which will have an impact on the loss of archipelago identity. This is information comes from relevant government agencies (UM/46 and MUH/53) working in the field of the Tuban Regional Tourism and Culture Office.

4.3. Life cycle ritual of gedhog woven batik

Rituals or rites are procedures related to religious ceremonial activities. These ritual activities need specific means, one of which is known as wastra (high quality traditional cloth) that play significant role in religious ceremonies. These three important ceremonies relate to birth, marriage and death ceremonies; all the ceremonies involve the use of gedhog woven batik. These three events can affect life based on physical and spiritual health through the stages of the life cycle, from birth to adulthood. Physical health is obtained by doing exercises. With consistent exercises human body becomes healthy and good and productive. This results in quality offspring who so that human existence on earth sustain. For the spiritual aspect, it is also necessary to do healthy activities such as meditation and to always think positively. One way to keep our soul and mind healthy is by doing rituals and practicing meditation. This requires media that has been agreed according to the customary rules.

In the Tuban community, traditional leaders (WS/81) said that there is an arrangement based on customs regarding the rules of human life from birth, marriage, to death. For them, the event is marked by a ceremony or event that is important so that it is always remembered and remembered as part of the stages of the journey of human life in the world. The community determines the introductory element of the traditional ceremony, namely the gedhog batik woven cloth as a ritual medium, so that the cloth is considered a traditional cloth or wastra, which must be included in every traditional ceremony. Ritual philosophy and traditional cloth can be seen based on 3 aspects of the human life cycle. The description in chart 1 contains a division in the form of: (1) Birth period, there are customs when humans are in the womb and when humans are born; (2) During marriage, there are customs during adolescence including circumcision, work, and marriage ceremonies, and; 3) At the time of death, there is a funeral ceremony. Such is the ritual activity of human life as explained by previous sources and researchers.

Chart 2 shows the course of human life cycle, which can be separated in these following stages: time of birth, time of marriage, and time of death. These three events are always held in a customary way by using gedhog woven batik cloth, which has a certain decoration as a sign of an event. Traditional birth ceremonies use gedhog woven batik motifs with the Pecotot Beton (jackfruit seeds) motif, marriage ceremonies use Sri Gunting Bird motifs, and death ceremonies use tilted Kijing (tombstone) motifs. For adulthood or working period, there is no special ceremony as explained in Table 9.

Table 10. The relationship between wastra, the three concepts of visualization, the ritual stages of the human life cycle, and the meaningness

Local Fashion (Variant motifs of Gedhog woven batik)	Three concept of visualization	Analysis	Five stages of human life	Meaning
Jangan Menir	Object: Long cloth, woven (size: 300 x 80 cm)	Woven cloth made by her mother when she was pregnant	1. Custom in the womb period Cloth used by pregnant women during ritual ceremonies. The vertical line represents the father (male), while the horizontal line represents the mother (female).	A woman carrying a baby wears a wastra patterned with Jangan Menir (a type of vegetable) to maintain her health so that the baby survives until birth, and the mother gets healthy food during pregnancy.
	Visual element: Line shape	Vertical dan horizontal line
	Color: White and blue	White symbolizes purity and nature, blue symbolizes life
Ganggeng	Object: cloth, gedhog woven batik (size: 300 x 80 cm)	A long cloth made with weaving and hand-drawn batik techniques	1. Custom in the womb period The cloth used by women when working in the fields or rice fields is made from cotton with weaving techniques, making it strong and thick. The ornaments are inspired by ganggeng, a type of water plant.	The ganggeng motif fabric is a hope for work that will continue to grow, and provide continuous sustenance.
	Visual element: Triangle, curve, plant stilation, leaf, flower, bamboo shoots	An ornamental variety that tells the story of the natural coastal environment
	Color: White, purple (red+blue), black	White symbolizes purity, while purple and black symbolize maturity and establishment.
Pecotot Beton	Object: cloth, gedhog woven batik (size: 300 x 80 cm)	Shawl fabric made with weaving and hand-drawn batik techniques	2.Custom of birth This cloth is used to wrap newborn babies as a symbol of purity and welcoming new life.	When the woman delivered the baby safely, the baby was wrapped in a wastra patterned with Pecotot Beton, like the background shape of a jackfruit seed that was ripe and ready to come out.
	Visual element: Jackfruit seeds, bird stilts, dots, and curved lines	A combination of jackfruit seed shapes that create a checkerboard shape as well as a background
	Color: White, light blue, and dark blue	White symbolizes purity; blue symbolizes growth, and life
Gringsing	Object: Sarong, batik tulis cotton cloth (size: 300 x 115 cm)	Cotton sarong cloth made with hand-drawn batik technique	3.Adulthood period A sarong used by boys after going through the circumcision ritual. The gringsing motif (small round shape) is used in the hope of a speedy recovery.	When a boy enters adulthood, circumcision event (cutting a little on his private part) should be done. So that his body grows to be healthy. By wearing a gringsing patterned cloth, it is hoped that the child will recover quickly and be healthy.
	Visual element: Phoenix bird, butterfly, plant, gringsing (round shape), curved line, dot	Stylized form of the phoenix symbolizes rebirth, hope, and good fortune
	Color: White, brown, blue and black	White symbolizes purity, brown symbolizes humility, blue symbolizes tranquility, black symbolizes strength.
Sri Gunting	Object: Long cloth, gedhog woven batik (size: 300 x 80 cm)	A long cloth made with weaving and hand-drawn batik techniques	4.Custom of marriage Period (Women) The cloth used for the bride is red during the marriage ritual ceremony.	When a woman will carry out a marriage ceremony, and she becomes a bride, she will wear a batik cloth with the Sri Gunting bird motif with the hope that she can live a married life in harmony until old age.
	Visual element: Stilasation of Sri Scissors bird, flower, plant, line, point, curve	Stilation of Sri Gunting (Dicruridae), a bird found in rice fields and fields, is believed to be an antidote to evil energy.
	Color: White and red	White symbolizes purity and red symbolizes youthfulness.
Sri Gunting	Object: Long cloth, gedhog woven batik (size: 300 x 80 cm)	A long cloth made with weaving and hand-drawn batik techniques	4.Custom of marriage Period (Men) The cloth used for the groom is dark blue, during the marriage ritual ceremony	When a man performs a marriage ceremony, when he becomes a bride, he will wear a batik fabric with the Sri Gunting bird design with the aim of living a happy married life till old age.
	Visual element: Stilasation of Sri Scissors bird, flower, plant, line, point, curve, triangle	Stilation of Sri Gunting (Dicruridae), a bird found in rice fields and fields, is believed to be an antidote to evil energy.
	Color: White, light blue and dark blue	The white color symbolizes purity, and the dark blue color symbolizes maturity.
Kijing Miring	Object: Long cloth, gedhog woven batik (size: 300 x 80 cm)	A long cloth made with weaving and hand-drawn batik techniques	5.Custom of death This cloth is used for death rituals. The shape of the vertical and horizontal lines, with additional dots forming a diagonal triangle, symbolizes the tomb (kijing miring)	When a family member passes away, the body will be wrapped in batik cloth so that the burial process can be carried out correctly, swiftly, and flawlessly without causing the surviving family any inconvenience.
	Visual element: Lines and points	The vertical and horizontal lines are formed due to the weaving technique, and the dot shapes are made with the hand-drawn batik technique.
	Color: White, dark red, and black	White symbolizes purity; crimson and black symbolize establishment, and death.

Source: Researcher’s Analysis, 2023.

Chart 2. Human life cycle.

Source: Researcher’s analysis

The implied meaning of the wastra in Table 10 is that there was life before that in the world and there is also afterlife. People believe that these three realms must be passed in order to achieve them well. To achieve this, a ceremony needs to be performed as a sign and it is adapted to the needs of respective community in carrying out traditional customs. Life before the world uses the Pecotot Beton motif (jackfruit seeds), consisting of ornaments: jackfruit seeds arranged in the shape of kawung, bird wings, Sri Gunting birds, and dots as background. This motif means ripeness and readiness to come out just like a jackfruit seed. A mother (IND/38), acting as informant, informs that this patterned fabric tells the story of a mother who is expecting a baby and is preparing to give birth and it aims to secure safety and health.

Table 9. Wastra (high quality traditional cloth) as media of human life cycle ritual

Pecotot Beton motif (jackfruit motif)	Srigunting Bird motif
Ganggeng Motif (seaweed plants motif)	Tilted Gravestode Motif

Source: Author’s document, 2022.

Life in the world is represented by the Sri Gunting Bird motif, along with other decorative elements such as ornament of sea plants, cotton flowers, stripes on the edges, and a white background. The cloth used as jarik (long cloth) uses blue colour for all and red for girls or newlyweds. The goal is that after the wedding ceremony the newlyweds can live a good, safe, and happy life. Another cloth motif is the Ganggeng (seaweed plant) motif, consisting of stylized forms of the ganggeng plant (a type of sea plant), bamboo shoots, cotton flowers, and cocohan (dots) background. Cloth is used for mothers when working in the fields or at home. The afterlife uses the tilted Kijing (tombstone) motif, consisting of geometric motifs of vertical and horizontal lines (weaving techniques) and an arrangement of 10 dots to form a diagonally arranged triangle. This cloth is used to cover the casket during funeral ceremonies. The goal is that the bodies are facilitated in the burial process and the families left behind are not sad.

The present study draws upon data gathered through interviews and discussions with key informants (UM/46 and MUH/53) to examine the correlation between gedhog woven batik and the life cycle system of the Tuban community. The process of creating gedhog woven batik style, lead to the production of a wastra, which serves as an essential component for ceremonial purposes. Hence, the manufacturing of gedhog woven batik fabric featuring specific aesthetic variations can be sustained.

The provided table illustrates the correlation between human life activities, spanning from birth to death, and the presence of cloth as wastra or traditional fabric adorned with certain motifs that are immutable and irreplaceable. The primary rationale behind the existence of ornamental variation is in its origination from the consensus of the Tuban community, which has subsequently solidified into a customary practice. In situations where an individual within the society lacks the necessary attire, a loan may be extended to ensure the seamless and unimpeded execution of the ceremony.

5. Discussion

The preservation of cultural legacy plays a crucial part in upholding the significance of tradition and culture. It serves as a testament to the endurance of a community and showcases the diverse array of human achievements across different epochs of human existence (Ezenagu & Geraghty, 2020). This research found that the gedhog woven batik fabrics made by the people of Kerek Village continue to be produced. The people in this village preserve local values through life cycle rites. It contains four cultural values in human life: a) physical values, b) social values, c) symbolic values, and d) aesthetic values. These values place the cloth used as a complement to the ritual, as traditional cloth or wastra. For that reason, the manufacture of this cloth is a major need for the people of the Tuban area and its surroundings, which causes traditional ceremonies to be carried out perfectly and completely.

At another level, the decorative fabrics reflect the character of coastal communities who show a diversity of flora and fauna, mix colours that are environmentally friendly, and use materials that are produced independently. Therefore, the production of gedhog woven batik cloth as a livelihood for the community is carried out independently, sustainably, environmentally friendly, and supports cultural activities. This knowledge and skills are also passed on to the younger generation in order to maintain culture in the midst of the lifestyle’s change at global level (Williams, 1981).

This finding is different from previous findings. This research shows that there is a ritual relationship with the existence of gedhog woven cloth based on two essential reasons, namely independence in producing batik and the need for batik in traditional ritual activities. This study shows that the identity of the Tuban people is different from other regions such as the Sasak tribe. In the tradition of Sasak people, if they don’t perform traditional ceremonies, the child will often get sick and be unwell. That is the reason why a ceremony must be performed to get rid of all the disasters in their life in the world. On the other hand, when this child dies, the cloth is cut in part and covered over his face, called a rag. Hence, the function of cloth in many ethnic groups has a very important and sacred position (Wijayanti, 2019).

The continuation of the weaving tradition and the rituals of human life reflect the ability of local traditions to change the world of fashion in three important ways. 1) Capable to face the strong influence of global fashion which destroys local fashion to become homogeneous and fusing certain uniqueness (Featherstone, 2010); 2) Capable to build a nation’s appreciation for local fashion which receive more and more appreciation, not only at the national level but at the world level as well. This has an impact on increasing knowledge of Indonesian cultural customs and people increasingly loving gedhog woven fabric products as self-identity; and 3) Capable to improve the status of a museum as part of a government agency to become a center of study that facilitates scientists and the public to explore the meaning and philosophy of cloth collections custom (Peraturan Pemerintah (PP) Nomor 66 Tahun 2015 Tentang Museum, 2015).

The production process of gedhog woven batik cloth has such important position in the series of human life cycle rituals. The symbolic values implied in local wisdom and the independence of working activities are still relevant to today’s values, namely the events of birth, marriage, and death. The three stages of life appear in the form of cloth as “messengers” of ancestral power which is manifested by “artistic taste” and is carried out by women. At present, with developments and lifestyle changes that occur rapidly, uniform and massive, the activities in producing culture that are still carried out in Tuban become a psychological balancer in living daily life. These noble values of virtue can be communicated to today’s young generation (Ramachandran, 2011; Svašek, 2015; Williams, 1981).

The production of gedhog woven batik is closely associated with the application of traditional values, a phenomenon deeply rooted in the motivating qualities of craft industry players in Indonesia. These actors are driven by three prominent factors: self-transcendence, conservation, and self-enhancement (Gunawan et al., 2021). Fabric manufacturers endeavor to retain ancient and religious principles throughout the production process, while utilizing the quality of the fabric as a means to convey their values (Semuel et al., 2022).

The act of weaving holds significant cultural and ritualistic importance, leading to its perceived economic value and potential as an investment (Semuel et al., 2022). This presents an occasion pertaining to the government’s engagement in fostering the economic domain within the realm of culture and arts, exemplified by the Banyuwangi Ethno Carnival event. This event serves as a demonstration of the collaborative efforts between cultural stakeholders and the government in advancing the socioeconomic well-being of the community (Anoegrajekti et al., 2018).

6. Conclusion

The Tuban gedhog woven batik tradition has proven its ability to survive by embedding ritual traditions that surround their life cycle. Starting from cotton material and a blend of natural dyes, gedhog woven batik has an important meaning for the circle of human life. The analogy of using color can be seen in white and cream representing cotton; red means young age; blue and red mean mature; brown means stability; and black means death. The codes on this symbol are broken down into color symbols for the human life cycle, namely; the early period of life is marked by birth; the middle period of life is marked by years of work and marriage; and the end of life is marked by stability and death. Therefore, the sustainability of the production of gedhog woven batik is very dependent on the rituals of the human life cycle which are encircled by the local socio-cultural context so that their existence and sustainability are very much determined by how strong cultural institutions and practices survive.

This research produced knowledge about local wisdom, in the form of the utilization of cotton plants, the stages of making gedhog woven batik cloth, human life cycle rituals, and Tuban culture. The findings of this study in the context of local fashion reproduction in the life cycle rites of the Tuban people are that there is a new meaning regarding the position of gedhog woven batik in the world of fashion, which is still used and needed through the rites of human life. New interpretations that are re-interpreted in the context of the current issues of human life rites based on Tuban cultural values through the symbols of birth, marriage and death provide enlightenment about the meaning of the life one lives. Breaking down Tuban’s ethnic codes through a combination of colors, decorations, and materials is a finding in the work process that departs from the results of investigations into gedhog woven batik in the context of the human life cycle into the context of today’s globalization of life with personal expression, cultural identity, independence and expressiveness.

In relation to the evolution of global fashion, gedhog woven batik has its own devotees, both as a requirement for ritual execution and as an investment. On another level, this fabric can serve as a source of inspiration for the evolution of global fashion, both in terms of its natural-material-based coloration system and its design and production techniques.

This particular research is limited to recording the cultural heritage of the archipelago that is devoted to the production of gedhog woven batik for the people of Tuban. There are still many cultural products that can be researched and discussed in detail so that they can be connected with the fragments of material that have been found to become complete cultural products and can be studied by the next generation. As a result, further research needs to be done to study batik process and weaving, which are still widely practiced in the Indonesian archipelago, such as the Destar cloth which is on the north coast of the western part of Java Island, and the Tampan cloth which is on the tip of Sumatra Island, both in terms of its history and local government support in framework for the promotion of culture to see the development of batik in the socio-cultural context in order to obtain a more comprehensive understanding.

Acknowledgments

We are very grateful to our informants living in Tuban and shared their stories and experiences with us. This research is a part of Post-Doctoral Program held by Pusat Riset Kewilayahan - Organisasi Riset Ilmu Pengetahuan Sosial dan Humaniora held by Badan Riset dan Inovasi Nasional Indonesia.

Disclosure statement

The authors declare that they have no known competing financial interests or personal relationships that could have appeared to influence the work reported in this paper.

Supplemental material

Supplemental data for this article can be accessed online at https://doi.org/10.1080/23311983.2023.2287858

Additional information

Notes on contributors

Lucky Wijayanti

Lucky Wijayanti is a lecturer in Faculty of Art and Design, Department of Craft, Jakarta Institute of the Arts. She has expertise in the art and design, especially in art-craft (kriya). She is also a consultant for the government or private sector in the field of craft training. Lucky Wijayanti can be contacted at: [email protected]