In his latest music video, MonoloQue features batik motifs displayed on the skin of the artists and throughout the video. These motifs are well-known Malaysian batik patterns, showcasing elements of flora and fauna. The song is titled Halimunan Abad Ke 21. Excerpt from the lyrics below:
Walau ketinggalan,
Ku cuba juga berlumba,
Pancaroba ini,
Yang istimewa,
Ratna mutu manikam
Semua bisu, malaikat lalu, di hutan batu,
Abad ke 21 …
The video (not the lyrics) conveys a simple yet profound message; the need to preserve our heritage, embrace our roots without shame, and promote them as best we can, even in the modern 21st century. Additionally, MonoloQue provides a platform for local batik artists to showcase their work, helping to ensure that our batik continues to be remembered and valued.
Different listeners interpret songs differently, and I might be wrong here. I interpret this song as an act of resistance against the waves of both old and new artists in all forms of expression, as well as against the industry, labels, and media that are complicit in promoting elements of culture that are not even our own.
Since we are also discussing motifs in Malaysian batik, below is a brief overview of batik motifs in Malaysia. A motif constitutes a unit that forms a pattern, while the element of repetition helps to shape the design.
Fabric design motifs are essential for adding decorative patterns that enhance the aesthetic appeal of objects. Studies comparing Javanese and Malaysian batik sarong designs revealed that Javanese batik has significantly influenced local Malaysian designs. Malaysian batik makers have adapted and drawn inspiration from Javanese motifs, especially those from Pekalongan, Gresik, and Lasem (Arney, 1987).
The presence of Javanese batik on Malaysia’s East Coast led to the adoption of new motifs, such as the flowering tree (pohon bunga) in Kelantan. This design featured flowers, leaves, and buds connected by curved stems (Roojen, 1993).
Ismail (1997) identified two main styles in batik sarong motifs: organic (including plants, animals, and natural elements) and geometric (such as pucuk rebung/triangles and Dong-son geometry). Subsequent research by Hussin (2006) further explored these natural motifs in batik and songket designs.
Mohamed (1990) highlighted the connection between floral motifs in batik sarongs and those in Malay woodcarving. This influence stemmed from the technique of printed batik, which uses wood blocks to apply colour to fabric. Known as batik pukul in Kelantan and batik terap in Terengganu, this method involved batik makers collaborating with wood carvers to create suitable motifs.
Mohamed also noted that after Independence, there was a rise in geometric and floral motifs, similar to arabesque designs. Swallow (1987) observed that Javanese batik sarong motifs often included stylised cultural symbols, a trend also seen in Malaysian sarong designs. Thank you for reading. I’m a huge fan of MonoloQue’s music. Follow his Instagram and Facebook.
References:
Legino, R. (2012). Malaysian batik sarongs: A study of tradition and change. School OF Art RMIT Australia.
Wahed, W. J. E., Amin, H., Bohari, A. A. M., Pindah, C., & Azmi, S. (2022). Malaysian Batik, Our Pride: A Systematic Literature Review. Social Sciences, 12(10), 942-955.
cataloQue. (2024, June 15). MonoloQue – Halimunan Abad ke 21 ( muzik video rasmi ) [Video]. YouTube. https://www.youtube.com/watch?v=fK5M-A4pHJA
