Jamu is traditional medicine in Indonesia

Jamu (formerly Djamu) is traditional medicine in Indonesia. It is predominantly herbal medicine made from natural materials, such as parts of plants such as roots, bark, flowers, seeds, leaves and fruits. Materials acquired from animals, such as honey, milk, Ayam Kampung eggs and goat's bile, are also often used.

Jamu can be found throughout Indonesia, however it is most prevalent in Java, where Mbok Jamu, the traditional kain kebaya-wearing young to middle-aged Javanese woman carrying bamboo basket filled with bottles of jamu on her back, travelling villages and towns alleys, offering her fares of traditional herbal medicine. In many large cities jamu herbal medicine is sold on the street by hawkers carry a refreshing drink, usually bitter but sweetened with honey or palm sugar. The traditional method on carrying the jamu in basket is called Jamu Gendong (lit. carried jamu), however today some jamu seller might ride bicycle. There is also modest street-side warung tent stall that specializing on selling jamus. Herbal medicine is also produced in factories by large companies such as Air Mancur, Nyonya Meneer or Djamu Djago, and sold at various drug stores in sachet packaging. Packaged dried jamu should be dissolved in hot water first before drinking. Nowadays herbal medicine is also sold in the form of tablets, caplets and capsules.

History

Jamu sellers in Yogyakarta, ca. 1910. It is claimed to have originated in the Mataram Kingdom some 1300 years ago. Though heavily influenced by Ayurveda from India, Indonesia is a vast archipelago with numerous indigenous plants not found in India, and include plants similar to Australia beyond the Wallace Line. Jamu may vary from region to region, and often not written down, especially in remote areas of the country.

Jamu was (and is) practiced by indigenous physicians (dukuns). However, it is generally prepared and prescribed by women, who sell it on the streets. Generally, the different jamu prescriptions are not written down but handed down between the generations. Some early handbooks, however, have survived. A jamu handbook that was used in households throughout the Indies was published in 1911 by Mrs. Kloppenburg-Versteegh.

One of the first European physicians to study jamu was Jacobus Bontius (Jacob de Bondt), who was a physician in Batavia (today's Jakarta) in the early seventeenth century. His writings contain information about indigenous medicine. A comprehensive book on indigenous herbal medicine in the Indies was published by Rumphius, who worked on Ambon during the early eighteenth century. He published a book called Herbaria Amboinesis (The Ambonese Spice Book).  During the nineteenth century, European physicians had a keen interest in jamu, as they often did not know how to treat the diseases they encountered in their patients in the Indies. The German physician Carl Waitz published on jamu in 1829.^[7] In the 1880s and 1890s, A.G. Vorderman published extensive accounts on jamu as well. Pharmacological research on herbal medicine was undertaken by M. Greshoff and W.G. Boorsma at the pharmacological laboratory at the Bogor Botanical Garden

BATIK

Batik  is a technique of wax-resist dyeing applied to whole cloth, or cloth made using this technique. Batik is made either by drawing dots and lines of the resist with a spouted tool called a canting or by printing the resist with a copper stamp called a cap ( also spelled tjap). The applied wax resists dyes and therefore allows the artisan to color selectively by soaking the cloth in one color, removing the wax with boiling water, and repeating if multiple colors are desired.

A tradition of making batik is found in various countries, including Nigeria, China, India, Malaysia, Philippines and Sri Lanka; the batik of Indonesia, however, is the most well-known. Indonesian batik made in the island of Java has a long history of acculturation, with diverse patterns influenced by a variety of cultures, and is the most developed in terms of pattern, technique, and the quality of workmanship. On October 2009, UNESCO designated Indonesian batik as a Masterpiece of Oral and Intangible Heritage of Humanity.

Etymology

The word batik is Javanese in origin. It may either come from the Javanese word amba ('to write') and titik ('dot'), or may derive from a hypothetical Proto-Austronesian root *beCík ('to tattoo'). The word is first recorded in English in the Encyclopædia Britannica of 1880, in which it is spelled battik. It is attested in the Indonesian Archipelago during the Dutch colonial period in various forms: mbatek, mbatik, batek and batik. 

History

The art of batik is most highly developed in the island of Java in Indonesia. In Java, all the materials for the process are readily available - cotton and beeswax and plants from which different vegetable dyes are made. Indonesian batik predates written records: G. P. Rouffaer argues that the technique might have been introduced during the 6th or 7th century from India or Sri Lanka.^] On the other hand, the Dutch archaeologist J.L.A. Brandes and the Indonesian archaeologist F.A. Sutjipto believe Indonesian batik is a native tradition, since regions such as Toraja, Flores, Halmahera, and Papua, which were not directly influenced by Hinduism, have an age-old tradition of batik making.
Rouffaer reported that the gringsing pattern was already known by the 12th century in Kediri, East Java. He concluded that this delicate pattern could be created only by using the canting, an etching tool that holds a small reservoir of hot wax, and proposed that the canting was invented in Java around that time. The carving details of clothes worn by East Javanese Prajnaparamita statues from around the 13th century show intricate floral patterns within rounded margins, similar to today's traditional Javanese jlamprang or ceplok batik motif. The motif is thought to represent the lotus, a sacred flower in Hindu-Buddhist beliefs. This evidence suggests that intricate batik fabric patterns applied with the canting existed in 13th-century Java or even earlier.
In Europe, the technique was described for the first time in the History of Java, published in London in 1817 by Stamford Raffles, who had been a British governor for the island. In 1873 the Dutch merchant Van Rijckevorsel gave the pieces he collected during a trip to Indonesia to the ethnographic museum in Rotterdam. Today the Tropenmuseum houses the biggest collection of Indonesian batik in the Netherlands. The Dutch and Chinese colonists were active in developing batik, particularly coastal batik, in the late colonial era. They introduced new patterns as well as the use of the cap (copper block stamps) to mass-produce batiks. Displayed at the Exposition Universelle at Paris in 1900, the Indonesian batik impressed the public and artists. 

Technique

Firstly, a cloth is washed, soaked and beaten with a large mallet. Patterns are drawn with pencil and later redrawn using hot wax, usually made from a mixture of paraffin or bees wax, sometimes mixed with plant resins, which functions as a dye-resist. The wax can be applied with a variety of tools. A pen-like instrument called a canting, sometimes spelled with old Dutch orthography tjanting) is the most common. A canting is made from a small copper reservoir with a spout on a wooden handle. The reservoir holds the resist which flows through the spout, creating dots and lines as it moves. For larger patterns, a stiff brush may be used. Alternatively, a copper block stamp called a cap old spelling tjap) is used to cover large areas more efficiently.

After the cloth is dry, the resist is removed by scraping or boiling the cloth. The areas treated with resist keep their original color; when the resist is removed the contrast between the dyed and undyed areas forms the pattern. This process is repeated as many times as the number of colors desired.

The most traditional type of batik, called batik tulis (written batik), is drawn using only the canting. The cloth need to be drawn on both sides and dipped in a dye bath three to four times. The whole process may take up to a year; it yields considerably finer patterns than stamped batik.

 

Culture

Many Indonesian batik patterns are symbolic. Infants are carried in batik slings decorated with symbols designed to bring the child luck, and certain batik designs are reserved for brides and bridegrooms, as well as their families. Some designs are reserved for royalties, and even banned to be worn by commoners. Consequently, a person's rank could be determined by the pattern of the batik he or she wore.

Batik garments play a central role in certain Javanese rituals, such as the ceremonial casting of royal batik into a volcano. In the Javanese naloni mitoni ceremony, the mother-to-be is wrapped in seven layers of batik, wishing her good things. Batik is also prominent in the tedak siten ceremony when a child touches the earth for the first time.

In October 2009, UNESCO designated Indonesian batik as a Masterpiece of Oral and Intangible Heritage of Humanity. As part of the acknowledgment, UNESCO insisted that Indonesia preserve its heritage.