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Weaving and fabric painting techniques were alternative in making textile motif designs for Ready to Wear. The exclusive value of fabric painting could be a proponent of more beautiful and unique clothing. The problem studied was how to apply weave and fabric painting to clothing and making Ready To Wear exotic dramatic style of Wayang Krisna. The aim of this report was to find out the application of weave and  fabric painting in the manufacture of Ready To Wear exotic dramatic style of wayang Krisna. The method used was R&D.The process of making Ready To Wear includes determining the fashion design, preparing tools and materials, applying measurements, making basic patterns, cutting materials, marking the stitches on the fabric, ironing upholstery, and sewing clothes. The materials for this dress were red and black drill fabric, red and black toyobo fabric and batik Sekar Jagat fabric. Using variations of woven and painted fabrics on Ready To Wear with an exotic dramatic style of Wayang Krisna. The use of brushes should be in a smooth way and not pressed firmly, in order to produce natural color strokes and form fine bristles. The process of pressing fabric painting should be at a temperature of 150 degrees and the material part was given a fabric base so that the fabric painting part was not wreck.

This research aims to explore the visual potential of the goldfish as a source of inspiration in the creation of hand-drawn batik works by incorporating traditional Mandailing ornaments. The goldfish was selected due to its strong symbolic meaning in local culture, representing luck, prosperity, and happiness. Meanwhile, Mandailing ornaments rich in philosophical and aesthetic cultural values serve as supporting elements that strengthen the visual identity of the work. The creative method used in this study follows the approach proposed by Husen Hendriyana, consisting of four stages: preparation, imagination (exploration), development of imagination (design), and realization (execution). The creative process involves illustrating the form of the goldfish combined harmoniously with distinctive Mandailing motifs such as bona bolu, bindu pusuk ni robung, burangir/aropik, sipatomu-tomu, bintang na toras, rudang, raga-raga, sancang duri, jagar-jagar, bondul na opat, tagan, bintang dohot tolu lingkaran, timbangan, podang, gancip, takar, pinggan, mataniari, horis, loding/upak, bintang, alaman bolak, parbincar mataniari, gimbang, lotus flower, and gumbot. The outcome of this research consists of 12 hand-drawn batik artworks applied as wall decorations using a contemporary approach. These works function both aesthetically and educationally, as well as decoratively. The artworks are expected to contribute to the development of hand-drawn batik as a visual art form that adapts to modern times, while also promoting and preserving the rich cultural heritage of the Mandailing through a broader visual format.

This research aims to create batik tulis motifs with inspiration from three main plantation commodities in North Labuhanbatu Regency, North Sumatra, namely palm oil, rubber, and cocoa. These three plants are not only economically important, but also have philosophical values that can be raised as visual and cultural wealth in the form of batik motifs. The method used in the creation of the work consists of three stages, namely exploration, design, and realization. Exploration is done through literature study, direct observation, and visual documentation of the morphology of the three plants. The design stage involved the stilation and deformation of the plant forms into batik motif designs. Furthermore, the realization stage was carried out using the written batik technique using canting on mori cloth. The research resulted in 12 written batik works that combine elements of aesthetics, philosophy of life, and the locality value of the Labuhanbatu Utara community. This research is expected to enrich the repertoire of contemporary batik design while supporting cultural preservation and the development of local wisdom-based creative industries.

The Green Economy and Sustainable Development Goals (SDGs) have the same goal as an environmentally friendly and sustainable development program. This research aims to examine the implementation of Green Economy in villages as a strategy to realize Village SDGs. More precisely, to describe and analyze the implementation of the green economy in rural areas, as well as analyze the important reasons for the Green Economy in realizing the Village SDGs. This research is a literature study (library research), using a qualitative approach. The data source used is a secondary data source. Data was obtained through literature and documentation. The research results show that the implementation of a Green Economy can start from villages, such as sustainable waste management, establishing micro hydro power plants, solar power plants, using natural dyes in home batik businesses, and green farming. Green Economy is very important in realizing Village SDGs, as an effort to protect the environment and natural resources; promote social equality and inclusion; and building a resilient and sustainable economy.

Traditional Cultural Expressions (TREs) are an important part of national identity and intangible cultural heritage that live in indigenous communities in Indonesia. In the midst of globalization and increasing cultural claims by other countries, the urgency of legal protection for TREs is becoming increasingly relevant and strategic. This article aims to examine the effectiveness of legal protection for TREs in Indonesia and to formulate strategies for strengthening protection at the national and international levels. This study uses a juridical-normative approach with literature study techniques and qualitative analysis of laws and regulations, international conventions, and case studies such as Reog Ponorogo and batik. The results of the study indicate that existing legal protection is still limited and has not been able to answer the complexity of cultural claim problems. Harmonization of national law with international standards and collaboration between parties are needed to strengthen Indonesia's legal position in protecting TREs. This study contributes to the development of more responsive and sustainable cultural policies.

Micro, Small, and Medium Enterprises (MSMEs) are business activities that have an important role in expanding employment opportunities and providing broad economic services for the community. However, the obstacles faced by MSMEs are the lack of ability and understanding due to low education and the assumption that the implementation of financial report recording is difficult. Therefore, this study is very interesting because it aims to test the application of SAK EMKM in the preparation of financial statements, especially regarding the application of SAK EMKM in the preparation of financial statements understood by micro, small, and medium enterprises (MSMEs). This study uses descriptive research with qualitative methods. The data collection used was interviews, observations, and documentation. Based on the findings of the research discussion, it can be concluded that Batik Lea Collection MSMEs have not implemented SAK EMKM in the preparation of their financial statements. This is mainly due to the owner's limited knowledge and understanding of accounting and financial reporting standards. Although the owners know about the existence of SAK EMKM, they lack knowledge about its implementation. Evidence from direct observation and documentation shows that Batik Lea Collection MSMEs only record cash inflows and outflows. Owners create bookkeeping reports that can only be understood by themselves  

Indonesian National Arts are different from other countries. One of them is textile craft art, which includes batik craft art, which was recognized by UNESCO as an original Indonesian cultural heritage on October 2, 2009. Batik is the art of drawing on clot . Hand-drawn batik is batik that is produced using a canting tulis which is used as a tool in placing wax liquid on the cloth. To create this work, the author uses the creation method from Sp. Gustami which consists of 3 stages, namely: Exploration, Design, and Realization. The results of the creation of this hand-drawn batik work produced 12 batik works in the form of two-dimensional works of various sizes. The types produced from this work are: Hijab, Long Cloth and Wall Decorations. Batik works have aesthetic value (beauty) namely the combination of Torch Ginger Plants. Torch Ginger Plants are used as the main motif in this batik work and other motifs are isen-isen. The process of creating written batik works that begins with the initial steps of making motifs on paper, transferring patterns from paper to cloth, the canting process, coloring batik, locking colors, and ngelorod batik. The process of creating written batik works that begins with the initial steps of making motifs on paper, transferring patterns from paper to cloth, the canting process, coloring batik, locking colors, and ngelorod batik.

This study aims to examine the role of Batik Anjani as an agent of local cultural preservation in Malang City, with a focus on the concept of agency within Anthony Giddens’ structuration theory. In this framework, an agent is understood as a social subject capable of acting reflectively and transforming their social environment. Batik Anjani, as a local batik industry actor, demonstrates initiative and awareness in preserving traditional values through production practices, motif selection, the use of natural materials, and community empowerment activities. Using a qualitative approach and case study method, this research analyzes how Batik Anjani actively makes decisions, formulates strategies, and constructs cultural meanings within the context of ever-changing socio-economic dynamics. The findings reveal that Batik Anjani does not merely fulfill an economic role but also acts as a cultural agent contributing to the sustainable preservation and reproduction of local cultural identity.

Climate change and environmental degradation have negatively impacted mankind's sustainable development. The concept of green entrepreneurship has gradually been accepted by society, including ecoprint batik. Through the application of zero waste, ecoprint batik production offers a strategy that is in line with the principles of green entrepreneurship. This study aims to analyze the application of zero waste to the efficiency of eco-print batik production in the context of green entrepreneurship. The method used in this study is a qualitative approach with secondary data collection on batik business actors in Sragen. The data obtained were then analyzed using descriptive analysis to identify the analysis of the application of zero waste in batik innovation towards green entrepreneurship efforts. The results of the study indicate that the application of zero waste in eco-print batik production has a significant impact on production efficiency, especially in reducing waste and optimizing the use of raw materials. However, there are several obstacles such as higher production costs, limited supply of natural raw materials, and low consumer awareness of the added value of zero waste-based batik. Policy support and incentive programs from the Government are also very important to encourage the sustainability of eco-print batik businesses based on green entrepreneurship.

This study discusses how personal experiences can serve as the main source of ideas in creating batik painting. Using a phenomenological approach, self-narratives are used to explore experiences which are then visualized into batik works. The creative process follows several stages: preparation, imagining forms and motifs, exploring color and technique, and the final execution on primisima mori cloth sized 77x 109 cm using hand drawn batik techniques. The resulting work not only captures life stories but also becomes a way to express oneself and preserve culture.

This creation is based on Contemporary calligraphy (contemporary) is a work of art created by Muslim artists to express religious values, through paintings that have a combination of various colors and seem free but in the artwork the message contained in the painting can be conveyed. This creation uses the Lafadz Asmaul Husna with the type of Khat Kufi combined with a floral batik motif as the background. The combination of floral batik motifs with contemporary calligraphy painting is an interesting form of blending local culture and modern art expression. This creation aims to find out how the visualization process and techniques are used in the creation of contemporary calligraphy with floral batik motifs. This creation uses the I Made Bandem method which has 5 stages of creation, namely: preparation, elaboration, synthesis, concept realization, and completion. The result of this creation is a contemporary calligraphy painting with a floral batik motif of 12 paintings. This creation uses acrylic paint with a pelakat technique. Contemporary calligraphy painting using a floral batik motif is expected to be used as a cultural preservation because this work helps people to better understand, appreciate, and preserve cultural heritage through floral batik motifs integrated into calligraphy art.

Kampung Wisata Batik Okra Surabaya which is located in the central area of Surabaya, has a great opportunity to be developed into one of the leading tourist destination centers as well as a cultural education center. Tourists who visit can participate in the process of making written batik which is the main attraction. This research is descriptive with a qualitative approach with the theory of community participation by Marschall (2006) to analyze the impact of community participation on the family economy in Kampung Wisata Batik Okra Surabaya. The results obtained through the research found that the Kampung Wisata Batik Okra Surabaya has not been optimal in meeting one of the three main indicators in the success of community participation stated by Marschall, namely the ability of the community to be involved in the process. The researcher's suggestion is to give awards to residents who actively contribute so that participation becomes more sustainable and develop sustainable training programs such as digital marketing, packaging of tourism products, or the management of batik galleries that are more attractive for tourists to visit.

Urban communities in Surakarta City tend to have high mobility which has an impact on rapid growth.  They need a safe, comfort and efficient transportation system. Surakarta City Transportation Agency presents Batik Solo Trans (BST) to answer these needs. However, the presence of BST is not balanced with user comfort at the BST permanent shelter. The incompatibility of shelter facilities with established standards causes users especially the disabled can’t access independently. This research aims to analyze user assessments and needs using Kansei Engineering and Administrative Law methods to determine the components to create a user-friendly BST permanent shelter. Purposive sampling was used to obtain data from 130 respondents based on interviews, questionnaires and observations. The results showed that comfort and equality are mandatory standards for creating a user-friendly BST permanent shelter. There are 5 aspects that have a significant influence on these standards. Those aspects are clean shelter, clear shelter, strategic location, appropriate shelter width and appropriate of shelter’s access height.

This community service project at SD Negeri 16 Kota Bengkulu aims to enhance children's awareness of local culture. The primary objective is to cultivate a love for Bengkulu’s indigenous heritage through integrated cultural education. Utilizing the Asset-Based Community Development (ABCD) approach, the program leverages existing community strengths and cultural assets. Service-learning, field observation, and a descriptive qualitative methodology guide the design and implementation of a variety of cultural activities. Key activities include training in traditional dance and Dol music, the introduction of local games, exposure to Bengkulu folk songs, as well as the introduction of Batik Besurek and traditional foods. As part of the Pancasila Student Profile Strengthening Project (P5), the program also features the creation of Tabot miniatures and coloring wayang figures. Additionally, the program introduces the Kaganga script and raises awareness about cultural preservation. This comprehensive initiative is expected to significantly enhance students' appreciation and understanding of Bengkulu’s rich cultural heritage, contributing to the sustainable preservation of local traditions.  

This community empowerment program aims to enhance the economic independence and product competitiveness of women and youth in rural areas through social innovation and creative entrepreneurship in Madurese batik, rooted in local wisdom. The initiative addresses the limited economic opportunities and low participation of rural women and youth in productive activities. The program's objectives include improving entrepreneurial skills, fostering innovation in batik design, and strengthening market access for local products. Using a participatory action approach, the program involved training, mentoring, and collaborative product development with local artisans. The results show a significant improvement in participants’ skills in business planning, creative design, and digital marketing. Moreover, several new batik products with unique local motifs were successfully introduced and promoted through online platforms and local exhibitions. These outcomes indicate that empowering rural communities through context-specific innovation and entrepreneurship can generate sustainable socio-economic impacts. This program not only contributes to the economic resilience of rural communities but also revitalizes the cultural identity of Madura through batik as a competitive local product

The beach cloth works created apply Nias ornaments as a renewal idea to make them attractive and different from previous beach cloths. The aim is to find out the preservation activities of Nias ornaments in the cycle of batik-based beach cloths. Nias ornaments have certain symbolic meanings that are believed and trusted by the local community. Ornaments that are part of fine art by paying attention to the principles in applying Nias ornaments to the beach cloths created. The creation process is carried out by: 1. Data collection, 2. Determining ornaments as samples, 3. Designing digital-based motifs, 4. Transferring designs to primis mori cloth, 4. The canting process using liquid wax, 5. Coloring beach cloth, 6. Locking the color of the cloth using waterglass, 7. Removing wax by boiling and processing the cloth, 8. Drying the cloth until dry. The creation produced 12 different beach cloth works with innovations to preserve Nias ornaments, while at the same time socializing beach cloth as a typical souvenir of the Nias tribe through art exhibitions.

Batik has been recognized by UNESCO as a Masterpiece of the Oral and Intangible Heritage og Humanity on October 2, 2009. Hand-drawn batik is batik produced using a canting tulis as a tool to apply wax to the surface of the cloth. In creating this work, the author used the Hendriyana creation method. The stages of the process of creating a work of art from this method include: 1. Preparation stage 2. Imagination stage 3. Imagination development stage and 4. Work stage. This creation research aims to produce innovations in flora and fauna works in hand-drawn batik motifs. The flora and fauna motifs that the author uses in creating this hand-drawn batik work are rose, dahlia, and butterfly motifs. The results of the creation of hand-drawn batik works with flora and fauna motifs produced 12 batik works in the form of two-dimensional works measuring 100 x 200 cm which can be used as clothing materials. Using the colet technique in the coloring process to produce more dynamic and expressive color variations. The process of creating hand-drawn batik begins with the process of making a motif on paper, transferring the pattern from the paper to the cloth, the canting process, giving color to the cloth, and drooping the cloth.

Batik Tanah Liek is one form of Minangkabau cultural heritage that has a unique coloring process that uses natural materials in the form of clay. This study aims to analyze the business planning of Batik Tanah Liek from two main aspects, namely marketing and finance. The method used is a descriptive approach with secondary data and a five-year financial projection simulation. The marketing strategy is focused on cost-based pricing and digital promotion through social media, participation in cultural events, and partnerships with local business actors. Financial analysis includes profit and loss projections, cash flow, and break-even point (BEP) analysis. The results show that the strategy developed is able to provide significant profit growth potential and healthy cash flow. These findings indicate that Batik Tanah Liek has the potential to develop as a competitive and sustainable local fashion brand.

This study aims to analyze the role of local values in the sustainable management of peatlands in Dayun Village, Siak Regency, Riau Province. The research applies a descriptive qualitative method using a normative-empirical approach. Findings indicate that although formal customary law structures are no longer present, local communities continue to apply traditional values in land management. Activities include sustainable watermelon farming, batik training using watermelon leaves, and processing agricultural products into local goods such as juices and watermelon-based snacks. Furthermore, educational tourism initiatives emphasize Malay cultural preservation, environmental awareness, and social revitalization. Community activities such as group exercises, outbound games, forest fire prevention education, and crafts training are led by the local tourism awareness group (Pokdarwis). These reflect a transformation of local values into tangible actions supporting ecological sustainability and community economic growth. The study also highlights the importance of local leadership and external collaboration in implementing these grassroots initiatives successfully.

The abstract on the purchasing intention of tourists for Guizhou's intangible cultural heritage batik products explores the interplay of cultural significance, consumer attitudes, and social influence. It highlights how the rich history and craftsmanship associated with batik create a strong emotional connection for tourists, enhancing their willingness to purchase these items as authentic souvenirs. Positive consumer attitudes, shaped by prior experiences and appreciation for cultural heritage, further contribute to purchase intentions. Additionally, social  influence plays  a  crucial  role, as  recommendations  from peers  and  social  media endorsements significantly impact tourists' perceptions and decisions. The study underscores the importance of effectively promoting these cultural products through storytelling, community engagement, and leveraging social proof to boost sales and preserve cultural traditions through the survey of 390 Guizhou residents.