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Gorga : Jurnal Seni Rupa
Published by Universitas Negeri Medan
ISSN : 23015942     EISSN : 25802380     DOI : https://doi.org/10.24114/gr.v9i1
Core Subject : Education, Art,
Arts Education
Gorga : Jurnal Seni Rupa terbit 2 (dua) kali setahun pada bulan Juni dan Desember, berisi tulisan/artikel hasil pemikiran, hasil penelitian, dan pengabdian kepada masyarakat yang ditulis oleh para pakar, ilmuwan, praktisi (seniman), dan pengkaji dalam disiplin ilmu kependidikan, kajian seni, desain, dan pembelajaran seni dan budaya.
Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan
Articles 799 Documents
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FUNGSI MOTIF GURDA PADA BATIK YOGYAKARTA Septianti, Septianti
Gorga : Jurnal Seni Rupa Vol. 13 No. 1 (2024): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v13i01.60214

Abstract

Batik has various decorative patterns in its motifs, in batik in Yogyakarta you often see the gurda motif combined with other motifs. The gurda motif is used as a form of reflection of Indonesian culture. This article reviews the gurda motif in terms of function in batik in Yogyakarta. The method used is a descriptive qualitative method with an aesthetic and social approach to understand the form and function of the gurda motif. Apart from that, the aesthetic approach helps in dissecting the function of the gurda motif towards values and paying attention to the current scope of society. To dissect the gurda motif using Edmund Burke Felman's theory in understanding its function. By using Felman's theory, three functions were found, namely spiritual function, social function and industrial commodity function. Through this article, it will result in a change in function from sacred to a form of social strata which will turn into an industrial commodity which is ultimately used as a mass item. Apart from this, we can see a comprehensive change in the significance of the gurda motif in the spiritual realm, which aims to clarify its contemporary function.Keywords: batik, gurda, motif,  YogyakartaAbstrakBatik memiliki berbagai raham hias pada motifnya, pada batik yang ada di Yogyakarta sering kali dilihat motif gurda yang dikombinasikan dengan motif lain. Motif gurda digunakan sebaga bentuk refleski budaya bangsa Indonesia. Tulisan ini mengulas mengenai motif gurda dari segi fungsi pada batik di Yogyakarta. Metode yang digunakan yaitu metode kualitatif deskriptif dengan pendekatan estetika dan sosial untuk dapat memahami bentuk dan fungsi dari bentuk motif gurda tersebut. Selain itu dengan pendekatan estetika membantu dalam membedah fungsi yang terdapat pada motif gurda terhadap nilai-nilai dan memperhatikan lingkup masyarakat pada saat ini. Untuk membedah mengenai motif gurda dengan menggunakan teori Edmund Burke Felman dalam memahami fungsinya. Dengan menggunakan teori dari Felman ditemukan tiga fungsi yaitu fungsi sebagai spiritual, fungsi sosial, dan fungsi sebagai komoditas industri. Melalui tulisan ini menghasilkan adanya perubahan fungsi dari sakral hingga sebagai bentuk strata sosial yang akan berubahan mejadi barang komoditas industri yang akhirnya digunakan sebagai barang masal.  Selain hal tersebut dapat dilihat adanya perubahan  komprehensif terhadap signifikansi motif gurda dalam ranah spiritual, yang bertujuan untuk memperjelas fungsi kontemporernya.Kata Kunci:batik, gurda, motif, Yogyakarta Author:Septianti : ISI Yogyakarta ReferencesAtmojo, W. T. (2011). Barong dan Garuda dari Sakral ke Profan. Yogyakarta: Pascasarjana ISI Yogyakarta.Cahya, H. E. (2018). Partisipasi Masyarakat, Kegiatan Pendidikan Membatik, Pelestarian Budaya Lokal Membatik Di Dusun Semin. Jurnal Kebijakan Pendidikan Vol., 7(2), 120“130.Falahi, Y., & Hermawan, H. (2023). Konsumerisme Pada Batik Dalam Perspektif Identitas, Komoditas, dan Gayat Hidup. Katarupa, 1 No.1(Vol. 1 No. 1 (2023): Katarupa Volume 1 no 1 2023), 11“20. Retrieved from https://journals.itb.ac.id/index.php/katarupa/article/view/21067Feldman, E. B. (1991). Art As Image And Idea (Sp Gustami). Yogyakarta: Fakultas Seni Rupa ISI Yogyakarta.Harmoko. (1996). Indonesia Indah Buku ke-8 " Batik. Jakarta: TMII.Jesper, J. E., & Pirngadie, M. (2017). Batik: Seni Kerajinan Pribumi di Hindia Belanda. Yogyakarta: DEKRANAS.Kawindrasusanta, K. (1981). Mengenai Seni Batik di Yogyakarta. Yogyakarta: Balai Besar Kerajinan dan Batik.Murtihadi, & Mukminatun. (1979). Pengetahuan Teknologi Batik. Jakarta: Departemen pendidikan dan Kebudayaan.Novrita, S. Z., & Pratiwi, M. (2022). Makna Motif Batik Di Kabupaten Solok Selatan Studi Kasus Pada Sanggar Azyanu Batik 1000 Rumah Gadang. Gorga¯: Jurnal Seni Rupa, 11(2), 628. https://doi.org/10.24114/gr.v11i2.39652Santana, S. (2007). Menulis Ilmiah Metode Penelitian Kualitatif. Jakarta: OBOR.Septianti. (2019). Gurda Pada Batik Larangan Yogyakarta. Yogyakarta: Tesis Pascasarjana ISI Yogyakarta.Septianti. (2020). Kajian Bentuk, Fungsi, Dan Makna Simbolik Motif Gurda Pada Batik Larangan Yogyakarta. INVENSI (Jurnal Penciptaan Dan Pengkajian Seni), 5(1), 65“80. https://doi.org/10.24821/invensi.v1i1.4125Suwito, S. Y., Marwito, T., Damami, Riswinarno, & Gupta, D. (2010). Nilai Budaya dan Filosofi Upacara Sekaten di Yogyakarta. Yogyakarta: Dinas Kebudayaan dan Pariwisata Yogyakarta.Suyanto, A. N. (2002). Sejarah Kerajinan Batik Indonesia. Yogyakarta: Rumah Penerbit Merapi.Trixie, A. A. (2017). Filosofi Motif Batik Sebagai Identitas Bangsa Indonesia. Paradigma, 19(2), 127“130.
Designing Children's Book: Tommy & Darkness to Overcome Fear of Shadows (Ages 6-12) Darmo, Budi; Sanjaya, Budi; Crysantie, Maylea; Tjiu, Meiliana; Agustino, Matthew
Gorga : Jurnal Seni Rupa Vol. 13 No. 2 (2024): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v13i2.60959

Abstract

Children often feel fear of shadows in the dark, which frequently arises from imaginary creatures or their dreams. This fear disrupts their emotional development and affects their sleep routines, leading to issues like insomnia and anxiety. Addressing this issue through effective educational tools such as children's books is crucial, especially in Indonesia where children's interest in reading is still very low. This project aims to create a children's book titled "Tommy & Darkness," designed to help children aged 6-12 overcome their fear of shadows. The story follows a young boy named Tommy who learns to confront and understand his fear with the help of a friendly guide. The book employs the Design Thinking method from the Hasso-Plattner Institute of Design at Stanford to creatively and engagingly demonstrate that fear can be overcome through empathy and courage. This method emphasizes understanding the user's experience, encouraging children to relate to Tommy's journey. The book also aims to enhance children's emotional resilience in facing everyday challenges by showing that fear is a natural part of life and can be managed with the right mindset and support. Illustrated with vivid, colorful artwork, "Tommy & Darkness" captures children's attention and makes the story more engaging. Ultimately, this project seeks to foster a culture of reading in Indonesia while providing valuable lessons in emotional intelligence and resilience.
Student Creation Process in Making Basic Two-Dimensional Art and Design Assignments by Digital Methods Ayuningtyas, Niken Larasati; Sari, Nedina
Gorga : Jurnal Seni Rupa Vol. 13 No. 2 (2024): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v13i2.61119

Abstract

Basic Two-Dimensional Art and Design is one of the mandatory courses taught at fine arts and design colleges, including at the Bandung Institute of Technology (ITB). This course aims to train student™ sensitivity to processing basic shapes or forms and technical skills in using traditional tools such as colored pencils and poster paints. However, with the developmnet of digital technology and since the Covid-19 pandemic, which required students at that time to carry out the learning process online, the majority of students switched to using graphic software in making assignments, especially in field composition tasks. Therefore, this study aims to explore the stages of students in making field composition assignments in a digital way and analyze the suitability of the results of the assignment with the achievements of this course. The research method used is participatory observation, where the author acts as a student assistant in the course, as well as conducting interviews with lecturers and three students who re-practice how to make field composition assignments. The results of the analysis revealed variations in visual complexity and design approaches between students who used conventional and digital methods. Students create field composition assignments using laptops and tablets whose creation process is carried out at their respective homes, not in the classroom. These findings provide insight into the adaptation of the fine arts education curriculum to digital technology, as well as highlight the importance of technology integration in art learning in response to the development of the times and the changing preferences of students towards creative tools and media.KEYWORDSCreation, Basic Form, Two-Dimensional AUTHORSNiken Larasati AyuningtyasNedina Sari REFERENCESBudiwirman, B., Syeilendra, S., Ramadhan, A., & Syafei, S. (2023). Seni Tradisional Dalam Seni Musik Modren: Analisis Berdasarkan Nilai Pendidikan. Gorga¯: Jurnal Seni Rupa, 12(1), 108-115. https://doi.org/10.24114/gr.v12i1.27135Dewi, N. K. (2023). Analisis Kemampuan Mendesain Poster Bertema Seni Budaya Ntb Pada Mahasiswa Calon Guru Sekolah Dasar. Gorga ¯: Jurnal Seni Rupa, 12(1), 84-90. https://doi.org/10.24114/gr.v12i1.43654Elpalina, S., Ambiyar, A., Agustina, A., & Azis, A. C. K. (2024). Implementasi Model Evaluasi Formatif-Sumatif Dalam Meningkatkan Pembelajaran Seni Budaya. Gorga : Jurnal Seni Rupa, 13(1), 1“8. https://doi.org/10.24114/gr.v13i01.55826Hendriyana, H. (2019). Rupa Dasar Nirmana Asas dan Prinsip Dasar Seni Visual. Penerbit Andi.Hendriyana, H. (2022). Rupa Dasar Nirmana Asas dan Prinsip Dasar Seni Visual. Penerbit Andi.Kembaren, Y. A., Kartono, G., & Mesra, M. (2020). Analisis Karya Poster Berdasarkan Unity, Layout, Tipografi, Dan Warna. Gorga¯: Jurnal Seni Rupa, 9(1), 121. https://doi.org/10.24114/gr.v9i1.18187Mubarat, & Ilhaq. (2021). Telaah Nirmana sebagai Proses Kreatif Dalam Dinamika Estetika Visual. Ekspresi Seni: Jurnal Ilmu Pengetahuan dan Karya Seni, 23(1), 125“139. http://journal.isi-padangpanjang.ac.id/index.php/Ekspresi/article/view/397Munawar, Z., Herdiana, Y., Suharya, Y., & Indah Putri, N. (2021). Pemanfaatan Teknologi Digital Di Masa Pandemi Covid-19. Tematik, 8(2), 160“175. https://doi.org/10.38204/tematik.v8i2.689Pratama, R. E., & Mulyati, S. (2020). Pembelajaran Daring dan Luring pada Masa Pandemi Covid-19. Gagasan Pendidikan Indonesia, 1(2), 49. https://doi.org/10.30870/gpi.v1i2.9405Sanyoto, S. E., & Widada, R. (2009). Nirmana: Dasar-Dasar Seni dan Desain. Jalasutra.Sugiyono. (2012). Metode Penelitian Kombinasi (Mixed Methods). Alfabeta.Sulistiya, M., Mu™afi, Z., Natasia, S. R., Herlina, H., & Yusuf, M. (2021). Penerapan Metode Think Aloud untuk Evaluasi Usability pada Website Dinas Pendidikan dan Kebudayaan Kota MNO. Jurnal Telematika, 16(1), 25“32.Supandi, M. B., & Azis, A. C. K. (2020). Peninjauan Poster dari Warna Dan Tipografi di SMK Multimedia Istiqlal. Gorga¯: Jurnal Seni Rupa, 9(2), 419. https://doi.org/10.24114/gr.v9i2.21236Tabrani, P. (2000). Proses Kreasi, Apresiasi, Belajar. Penerbit ITB.Tabrani, P. (2023). Potensi Manusia: Kreativitas (IV). ITB Press. 
Educative Board Game Design as an Anti-Bullying Campaign Media For Children Aged 9-12 Years Old Adila, Ainun; Bahri, Nurul Fitriana; Azhar, Hanif
Gorga : Jurnal Seni Rupa Vol. 13 No. 2 (2024): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v13i2.61305

Abstract

Bullying cases in educational institutions have shown high numbers each year, with the highest cases in 2023 occurring in elementary schools. This was validated by the 4th-grade homeroom teacher at SDN 119 Cijagra, Mrs. Novriza Puspita Widiyana, S.Pd., who reported at least three bullying cases each month. Based on the characteristics of children aged 9-12, the use of educational toys can be an effective solution as a medium for campaigning anti-bullying values. Board games, which involve experimental learning, direct interaction, and actions that engage children's socio-emotional skills in relation to their environment, can effectively help children aged 9-12 absorb the values being taught through educational play tools. This study aims to design educational toys as a medium for anti-bullying campaigns that support the socio-emotional development of children aged 9-12 by applying the concept of board games. The research is conducted using a qualitative method with a case study approach and the ADDIE design method (Analyze, Design, Development, Implementation, and Evaluation). Data collection techniques used include observation, interviews, documentation, questionnaires, and literature review. This study is expected to serve as an effective and enjoyable campaign medium for children aged 9-12.
The Meaning of Batik Motifs in Tando Pusako Batik House in Mukomuko Regency Efrashia, Tiara Husnun; Efi, Agusti
Gorga : Jurnal Seni Rupa Vol. 13 No. 2 (2024): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v13i2.61487

Abstract

The Tando Pusako Batik House in Mukomuko Regency, Bengkulu Province, faces the challenge of public understanding of the motifs and meanings of batik that are still not conveyed. This research aims to describe the meaning of Tando Pusako batik motifs through qualitative methods by collecting data from observations, interviews, and documentation. Data analysis follows the Miles and Huberman model, including collection, reduction, data presentation, and conclusion drawn. The results of this study prove that there are several meanings of batik motifs, including: 1) The Cerano motif in Tando Pusako batik means respect. 2) The mikih fish motif in Tando Pusako batik has a meaning, which reflects gratitude. 3) The Lokan motif in Tando Pusako batik has the meaning of advice to humans that in social life we help each other. 4) The oil palm tree motif in Tando Pusako batik has the meaning of prosperity and abundance of property. 5) The Rafflesia flower motif in Tando Pusako batik has the meaning of earth fertility. 6) The Mangrove Plant motif in Tando Pusako batik has the meaning of perseverance in facing challenges and changes in life. 7) The Basurek motif (Arabic Calligraphy) in Tando Pusako batik has a religious meaning. For further research, research can be carried out on how to transform the source of the idea of Tando Pusako batik motifs which has meaning for Mukomuko district.
The Form and Meanings of Iriak Anjai Dance Clothes in Pasaman Saiyo Art Studio Lestari, Mia Febria; Efi, Agusti
Gorga : Jurnal Seni Rupa Vol. 13 No. 2 (2024): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v13i2.61645

Abstract

One form of art is dance, dance has many types. Is one of Pasaman Regency there is Iriak Anjai dance. Along with the socio-cultural development of the user community, users increasingly do not understand their traditional arts, one of which is the Iriak Anjai dance. Therefore, the author has examined and described the components of the Iriak Anjai dance, namely its properties in the form of dance clothes in terms of the form and meaning of the Iriak Anjai dance. The method used in this research is qualitative method. This research was conducted at Pasaman Saiyo Art Studio Nagari Lundar, Panti District, Pasaman Regency. The types of data are primary data and secondary data. Data collection techniques are observation, interviews and documentation, the instrument in this research is the research himself. The data analysis technique used in data collection is the data reduction model, data presentation, and conclusion drawing. To get data validity is done trough triangulation. The results of this study found that the Iriak Anjai dance outfit at the Pasaman Saiyo Art Studio consists of absolute clothing, namely baju kurung with a design that is not too loose and pants. The complements are hood, sasamping and belt. The accessories are subang telpon and necklace. This Iriak Anjai dance suit has a function as a symbol and a meaning as the gratitude and happiness of the farmer for having obtained a satisfactory harvest.
Management of Internal Cultural Arts Sanggar Penghulu: Ompek Ganji Limo GonokTradition Festival in Kibul Village Muyusari, Febra; Asril, Asril; Sastra, Andar Indra
Gorga : Jurnal Seni Rupa Vol. 13 No. 2 (2024): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v13i2.61735

Abstract

The purpose of this study is to ascertain how the Ompek Ganji Limo Gonok Oral Tradition festival (OGLG) in West Tabir District is processed by the Sanggar Seni Batin Penghulu. This study employed a qualitative approach, including observation, interviews, and recording; the presenting method was descriptive qualitative. Sanggar Seni Batin Penghulu combines traditional management and modern management. The results of OGLG oral tradition management consist of planning, organization, implementation, and supervision. The planning carried out by the Sanggar Seni Batin Penghulu included creating concepts, coordinating meetings, and dividing work tasks, administrative preparations, and making technical instructions. The organization carried out is the division of work tasks and preparing strategies and tactics to create a festival. The implementation carried out is applying everything that has been designed. This activity consists of an oral tradition competition, an oral tradition workshop, a culinary competition, and an oral tradition performance. The departments responsible for supervision are the Kementerian Pendidikan, Kebudayaan, Riset dan Teknologi, and the Dinas Pendidikan dan Kebudayaan Kabupaten Merangin. The ministry receives direct information on the finances and operations of Sanggar Seni Batin Penghulu Inner Culture.
Case Study of Kerinci Typical Batik at the Incoang.Gnce Batik Sanggar Sungai Penuh Herdyanti, Fina; Suci, Puji Hujria
Gorga : Jurnal Seni Rupa Vol. 13 No. 2 (2024): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v13i2.61767

Abstract

Batik in Indonesia  was acknowledgen by unesco in 2009 as an intangible cultural treasure, and each region has batik with different characteristics and characteristics. One of the batik producing areas is in Kerinci, Sungai Full City, specifically at the Incoang.gnce Batik Studio which was founded in 2016. The method for creating batik in this studio uses the stamped batik technique and creates batik with the characteristics of Kerinci, Sungai Full City. The study’s objective is to characterize the background to the establishment of the Incoang.gnce batik studio, describe the form of batik motifs and the process of making typical Kerinci batik at the Incoang.gnce Batik Studio. The research method applies a qualitative descriptive method, the type of data used is primary and secondary data. Data collection techniques use observation, interviews and documentation techniques. Data analysis techniques with data reduction steps, data exposure and conclusions. To test the validity of the data, triangulation was carried out with the owner of the Incoang.gnce Batik Studio. The results of this research concluded that the Incoang.gnce batik studio was founded in 2016 based on batik training from the industry department, the batik motifs were sourced from what was in Kerinci, the river city full of culture and then typical Kerinci batik was created at the Incoang Gnce batik studio. Examples of motifs include the Karamantang motif, Umoh Lahaek motif, Jangkoi motif, Manyang motif, Kawoa motif, Incung script motif. The batik making process at the Incoang.gnce batik studio uses the stamped batik technique, starting from the stamping process, the coloring process, the embossing process, the dyeing process, and the lorot process. The tools used in making batik include stamping tables, stamping canting, frying pans and stoves. Materials used in batik are wax, dye, soda ash and water glass.
Exploration of Alternative CantingCap with LidiMaterials in Contemporary Batik Production Ayu, Dewita Sekar; Fardhani, Ahda Yunia Sekar
Gorga : Jurnal Seni Rupa Vol. 13 No. 2 (2024): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v13i2.61979

Abstract

Batik, a cherished heritage of the archipelago, holds significant artistic value. This research endeavors to introduce novel innovations in the tools employed in contemporary batik production. Several advancements have been made in batik-making tools, notably the utilization of sticks as a substitute for writing canting. This discovery presents an opportunity to employ sticks as an alternative to canting cap tools in contemporary batik production. The accessibility and cost-effectiveness of sticks compared to copper canting caps make this alternative a viable option. The research methodology employed is a descriptive qualitative approach, utilizing data collection techniques such as literature review, observation, interviews, and exploration. The creative process involved three stages: initial exploration, which aimed to identify the optimal stick type and visual form by comparing the strokes produced by canting with small and thick sticks; further exploration, which involved utilizing sticks as alternative batik canting tools by arranging sticks on clay based on the motifs obtained in the initial exploration; and final exploration, which utilized the glass comparison technique to refine the composition. The outcomes of this research provide an alternative tool made of stick material and fabric sheets, derived from the exploration of contemporary batik motifs using alternative tools to replace canting caps with stick material.
Study on the motives of Perahu Baganduang in Batik Kuansing Batik Nagori Business Azzahra, Ridawati; Efi, Agusti
Gorga : Jurnal Seni Rupa Vol. 13 No. 2 (2024): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v13i2.62066

Abstract

The Batik Perahu Baganduang motif originates from the Perahu Baganduang Tradition, a cultural practice in Kuantan Singingi Regency. Despite its growing popularity, many people are unaware of its cultural roots due to a lack of understanding. This research aims to contribute to the knowledge and appreciation of the motif, its sources of inspiration, and the symbols and meanings it carries, focusing on its application in the Kuansing Batik Nagori Batik Business. Using a qualitative approach, the research gathers primary and secondary data through observation, interviews, and documentation. The analysis follows a process of data reduction, presentation, and conclusion drawing. The findings reveal that: 1) The Batik Perahu Baganduang motif is designed to resemble the Perahu Baganduang, a boat paraded by the Lubuk Jambi community. This boat consists of two or three boats combined into one using bamboo, decorated with various colorful traditional symbols. 2) The transformation of the motif is rooted in the Perahu Baganduang Tradition itself, combined with motifs from Kuansing Batik Nagori and traditional Riau Malay designs. 3) The symbols embedded in the Batik Perahu Baganduang motif carry deep cultural significance: the Boat symbolizes unity, the Dome represents religiosity, the Buffalo Horn signifies strength, the Ani-ani symbolizes prosperity, the Gourds represent unity, the Cerano symbolizes respect, the Umbrella signifies protection, and the Colorful Cloth and Marowagh represent the indigenous community.This research provides valuable insights into the rich cultural heritage behind the Batik Perahu Baganduang motif, enhancing its appreciation and understanding within the broader community.

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