{"id":1055,"date":"2019-12-13T08:32:45","date_gmt":"2019-12-13T08:32:45","guid":{"rendered":"https:\/\/www.danielparente.net\/en\/2019\/12\/13\/monetizing-batik-in-the-creative-economy-opinion\/"},"modified":"2019-12-13T08:32:45","modified_gmt":"2019-12-13T08:32:45","slug":"monetizing-batik-in-the-creative-economy-opinion","status":"publish","type":"post","link":"https:\/\/www.danielparente.net\/en\/2019\/12\/13\/monetizing-batik-in-the-creative-economy-opinion\/","title":{"rendered":"Monetizing batik in the creative economy – Opinion"},"content":{"rendered":"

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\nIn junior high school, I dressed in something I recognized as batik because it had patterns with shades of brown. In college, my friend gave me Thai silk and I wondered about its close resemblance to batik with its hibiscus pattern. I then heard that printed batik was not the real Indonesian batik and ever since, I feel tricked whenever I see printed batik, especially expensive ones. It seems that although batik is everywhere, the familiarity of it does not come together with the right conception.
\nTo optimize the monetizing of batik is to treasure batik for its two characteristics.
\nFirst, as a dynamic cultural product that should continue to evolve without losing its identity. More than the motive, batik is about the making process. Batik\u2019s innate character is its creation process and thus Indonesian batik comprises handwriting and stamp batik.
\nTraditionally, the creation …\n<\/p>\n

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