Batik, the Traditional Fabric of Indonesia

It would be impossible to visit or live in Indonesia and not be exposed to one of the country's most highly developed art forms, batik. On your first visit to a batik store or factory you will undoubtedly experience an overwhelming stimulation of the senses - due to the many colors, patterns and the actual smell of batik. Only through repeated visits and a bit of study will the types of designs and their origins become apparent. The word batik is thought to be derived from the word 'ambatik' which translated means 'a cloth with little dots'. The suffix 'tik' means little dot, drop, point or to make dots. Batik may also originate from the Javanese word 'tritik' which describes a resist process for dying where the patterns are reserved on the textiles by tying and sewing areas prior to dying, similar to tie dye techniques. Another Javanese phase for the mystical experience of making batik is “mbatik manah” which means “drawing a batik design on the heart”. A Brief History Although experts disagree as to the precise origins of batik, samples of dye resistance patterns on cloth can be traced back 1,500 years ago to Egypt and the Middle East. Samples have also been found in Turkey, India, China, Japan and West Africa from past centuries. Although in these countries people were using the technique of dye resisting decoration, within the textile realm, none have developed batik to its present day art form as the highly developed intricate batik found on the island of Java in Indonesia. Although there is mention of 'fabrics highly decorated' in Dutch transcripts from the 17th century, most scholars believe that the intricate Javanese batik designs would only have been possible after the importation of finely woven imported cloth, which was first imported to Indonesia from India around the 1800s and afterwards from Europe beginning in 1815. Textile patterns can be seen on stone statues that are carved on the walls of ancient Javanese temples such as Prambanan (AD 800), however there is no conclusive evidence that the cloth is batik. It could possibly be a pattern that was produced with weaving techniques and not dying. What is clear is that in the 19th century batik became highly developed and was well ingrained in Javanese cultural life. Some experts feel that batik was originally reserved as an art form for Javanese royalty. Certainly it's royal nature was clear as certain patterns were reserved to be worn only by royalty from the Sultan's palace. Princesses and noble women may have provided the inspiration for the highly refined design sense evident in traditional patterns. It is highly unlikely though that they would be involved in any more than the first wax application. Most likely, the messy work of dyeing and subsequent waxings was left to court artisans who would work under their supervision. Javanese royalty were known to be great patrons of the arts and provided the support necessary to develop many art forms, such as silver ornamentation, wayang kulit (leather puppets) and gamelan orchestras. In some cases the art forms overlap. The Javanese dalang (puppeteer) not only was responsible for the wayang puppets but was also an important source of batik patterns. Wayang puppets are usually made of goat skin, which is then perforated and painted to create the illusion of clothing on the puppet. Used puppets were often sold to eager ladies who used the puppets as guides for their batik patterns. They would blow charcoal through the holes that define the patterns of clothing on the puppets, in order to copy the intricate designs onto the cloth. Other scholars disagree that batik was only reserved as an art form for royalty, as they also feel its use was prevalent with the rakyat, the people. It was regarded an important part of a young ladies accomplishment that she be capable of handling a canting (the pen-like instrument used to apply wax to the cloth) with a reasonable amount of skill, certainly as important as cookery and other housewifery arts to Central Javanese women. Selection and Preparation of the Cloth for Batik Natural materials such as cotton or silk are used for the cloth, so that it can absorb the wax that is applied in the dye resisting process. The fabrics must be of a high thread count (densely woven). It is important that cloth of high quality have this high thread count so that the intricate design qualities of batik can be maintained. The cloth that is used for batik is washed and boiled in water many times prior to the application of wax so that all traces of starches, lime, chalk and other sizing materials are removed. Prior to the implementation of modern day techniques, the cloth would have been pounded with a wooden mallet or ironed to make it smooth and supple so it could best receive the wax design. With the finer machine-made cotton available today, the pounding or ironing processes can be omitted. Normally men did this step in the batik process. Strict industry standards differentiate the different qualities of the cloth used today, which include Primissima (the best) and Prima. The cloth quality is often written on the edge of the design. A lesser quality cloth which is often used in Blaco. Batik Design Tools Although the art form of batik is very intricate, the tools that are used are still very simple. The canting, believed to be a purely Javanese invention, is a small thin wall spouted copper container (sometimes called a wax pen) that is connected to a short bamboo handle. Normally it is approximately 11 cm. in length. The copper container is filled with melted wax and the artisan then uses the canting to draw the design on the cloth. Canting have different sizes of spouts (numbered to correspond to the size) to achieve varied design effects. The spout can vary from 1 mm in diameter for very fine detailed work to wider spouts used to fill in large design areas. Dots and parallel lines may be drawn with canting that have up to 9 spouts. Sometimes a wad of cotton is fastened over the mouth of the canting or attached to a stick that acts as a brush to fill in very large areas. For close-up pictures of canting. Wajan The wajan is the container that holds the melted wax. It looks like a small wok. Normally it is made of iron or earthenware. The wajan is placed on a small brick charcoal stove or a spirit burner called an 'anglo'. The wax is kept in a melted state while the artisan is applying the wax to the cloth. Wax Different kinds and qualities of wax are used in batik. Common waxes used for batik consist of a mixture of beeswax, used for its malleability, and paraffin, used for its friability. Resins can be added to increase adhesiveness and animal fats create greater liquidity. The best waxes are from the Indonesian islands of Timor, Sumbawa and Sumatra; three types of petroleum-based paraffin (white, yellow and black) are used. The amounts mixed are measured in grams and vary according to the design. Wax recipes can be very closely guarded secrets. Varying colors of wax make it possible to disguise different parts of the pattern through the various dying stages. Larger areas of the pattern are filled in with wax that is cheaper quality and the higher quality wax is used on the more intricately detailed sections of the design. The wax must be kept at the proper temperature. A wax that is too cool will clog the spout of the canting. A wax that is too hot will flow too quickly and be uncontrollable. The artisan will often blow into the spout of the canting before applying wax to the cloth in order to clear the canting of any obstructions. Cap Creating batik is a very time consuming craft. To meet growing demands and make the fabric more affordable to the masses, in the mid-19th century the . cap. (copper stamp - pronounced chop) was developed. This invention enabled a higher volume of batik production compared to the traditional method which entailed the tedious application of wax by hand with a canting. Each cap is a copper block that makes up a design unit. Cap are made of 1.5 cm wide copper stripes that are bent into the shape of the design. Smaller pieces of wire are used for the dots. When complete, the pattern of copper strips is attached to the handle. The cap must be precisely made. This is especially true if the pattern is to be stamped on both sides of the fabric. It is imperative that both sides of the cap are identical so that pattern will be consistent. Sometimes cap are welded between two grids like pieces of copper that will make a base for the top and the bottom. The block is cut in half at the center so the pattern on each half is identical. Cap vary in size and shape depending on the pattern they are needed for. It is seldom that a cap will exceed 24 cm in diameter, as this would make the handling too difficult. Men usually handle the application of wax using cap. A piece of cloth that involves a complicated design could require as many as ten sets of cap. The usage of cap, as opposed to canting, to apply the wax has reduced the amount of time to make a cloth. Today, batik quality is defined by cap or tulis, the second meaning hand-drawn designs which use a canting, or kombinasi, a combination of the two techniques. Dyes Traditional colors for Central Javanese batik were made from natural ingredients and consisted primarily of beige, blue, brown and black. The oldest color that was used in traditional batik making was blue. The color was made from the leaves of the Indigo plant. The leaves were mixed with molasses sugar and lime and left to stand overnight. Sometimes sap from the Tinggi tree was added to act as a fixing agent. Lighter blue was achieved by leaving the cloth in the dye bath for short periods of time. For darker colors, the cloth would be left in the dye bath for days and may have been submerged up to 8 - 10 times a day. In traditional batik, the second color applied was a brown color called soga. The color could range from light yellow to a dark brown. The dye came from the bark of the Soga tree. Another color that was traditionally used was a dark red color called mengkuda. This dye was created from the leaves of the Morinda Citrifolia. The final hue depended on how long the cloth was soaked in the dye bath and how often it was dipped. Skilled artisans can create many variations of these traditional colors. Aside from blue, green would be achieved by mixing blue with yellow; purple was obtained by mixing blue and red. The soga brown color mixed with indigo would produce a dark blue-black color. Design Process The outline of the pattern is blocked out onto the cloth, traditionally with charcoal or graphite. Traditional batik designs utilize patterns handed down over the generations. It is very seldom that an artisan is so skilled that he can work from memory and would not need to draw an outline of the pattern before applying the wax. Often designs are traced from stencils or patterns called pola. Another method of tracing a pattern onto a cloth is by laying the cloth on a glass table that is illuminated from below which casts a shadow of the pattern onto the cloth. The shadow is then traced with a pencil. In large batik factories today, men usually are in charge of drawing the patterns onto the cloth. Click here to see the step-by-step process of making batik. Waxing Once the design is drawn out onto the cloth it is then ready to be waxed. Wax is applied to the cloth over the areas of the design that the artisan wishes to remain the original color of the cloth. Normally this is white or cream. Female workers sit on a low stool or on a mat to apply the wax with a canting. The fabric that they are working on is draped over light bamboo frames called gawangan to allow the freshly applied wax to cool and harden. The wax is heated in the wajan until it is of the desired consistency. The artisan then dips her canting into the wax to fill the bowl of the canting. Artisans use the wax to retrace the pencil outline on the fabric. A small drop cloth is kept on the woman. s lap to protect her from hot dripping wax. The stem of the canting is held with the right hand in a horizontal position to prevent any accidental spillage, which greatly reduces the value of the final cloth. The left hand is placed behind the fabric for support. The spout does not touch the fabric, but it held just above the area the artisan is working on. To ensure the pattern is well defined, batik is waxed on both sides. True tulis batik is reversible, as the pattern should be identical on both sides. The most experienced artisans normally do first waxings. Filling in of large areas may be entrusted to less experienced artisans. Mistakes are very difficult to correct. If wax is accidentally spilt on the cloth, the artisan will try to remove the unwanted wax by sponging it with hot water. Then a heated iron rod with a curved end is used to try and lift off the remaining wax. Spilled wax can never be completely removed so it is imperative that the artisans are very careful. If the cap method is utilized, this procedure is normally done by men. The cap are dipped into melted wax. Just under the surface of the melted wax is a folded cloth approximately 30 centimeters square. When this cloth is saturated with wax it acts like a stamp pad. The cap is pressed into the fabric until the design side of the cap is coated with wax. The saturated cap is then stamped onto the fabric, leaving the design of the cap. This process is repeated until the entire cloth is covered. Often cap and canting methods are combined on the same piece of cloth. Better quality batik may be waxed utilizing canting in one part of Indonesia and then sent to another part of Indonesia where the cap part of the process is completed. On better quality cap fabric great care is taken to match the pattern exactly. Lower grade batik is characterized by overlapping lines or lightened colored lines indicating the cap was not applied correctly. Dyeing After the initial wax has been applied, the fabric is ready for the first dye bath. Traditionally dying was done in earthenware tubs. Today most batik factories use large concrete vats. Above the vats are ropes with pulleys that the fabric is draped over after it has been dipped into the dye bath. The waxed fabric is immersed in the dye bath of the first color. The amount of time it is left in the bath determines the hue of the color; darker colors require longer periods or numerous immersions. The fabric is then put into a cold water bath to harden the wax. When the desired color has been achieved and the fabric has dried, wax is reapplied over the areas that the artisan wishes to maintain the first dye color or another color at a later stage in the dying process. When an area that has been covered with wax previously needs to be exposed so that it can be dyed, the applied wax is scraped away with a small knife. The area is then sponged with hot water and resized with rice starch before it is re-immersed in the subsequent dye bath. If a marble effect is desired, the wax is intentionally cracked before being placed in the dye bath. The dye seeps into the tiny cracks that create the fine lines that are characteristic of batik. Traditionally, cracks were a sign of inferior cloth especially on indigo color batik. On brown batik, however, the marble effect was accepted. The number of colors in batik represents how many times it was immersed in the dye bath and how many times wax had to be applied and removed. A multicolored batik represents a lot more work that a single or two-color piece. Numerous dye processes are usually reflected in the price of the cloth. Nowadays, chemical dyes have pretty much replaced traditional dyes, so colors are endless and much more liberally used. Special Treatments to the Batik Cloth Prada or Gold Cloth For special occasions, batik was formerly decorated with gold lead or gold dust. This cloth is known as Prada cloth. Gold leaf was used in the Jogjakarta and Surakarta area. The Central Javanese used gold dust to decorate their Prada cloth. It was applied to the fabric using a handmade glue consisting of egg white or linseed oil and yellow earth. The gold would remain on the cloth even after it had been washed. The gold could follow the design of the cloth or could take on its own design. Older batiks could be given a new look by applying gold to them. Gold decorated cloth is still made today; however, gold paint has replaced gold dust and leaf. Batik Designs Although there are thousands of different batik designs, particular designs have traditionally been associated with traditional festivals and specific religious ceremonies. Previously, it was thought that certain cloth had mystical powers to ward off ill fortune, while other pieces could bring good luck. Certain batik designs are reserved for brides and bridegrooms as well as their families. Other designs are reserved for the Sultan and his family or their attendants. A person's rank could be determined by the pattern of the batik he/she wore. In general, there are two categories of batik design: geometric motifs (which tend to be the earlier designs) and free form designs, which are based on stylized patterns of natural forms or imitations of a woven texture. Nitik is the most famous design illustrating this effect. Certain areas are known for a predominance of certain designs. Central Javanese designs are influenced by traditional patterns and colors. Batik from the north coast of Java, near Pekalongan and Cirebon, have been greatly influenced by Chinese culture and effect brighter colors and more intricate flower and cloud designs. High fashion designs drawn on silk are very popular with wealthy Indonesians. These exceptionally high-quality pieces can take months to create and costs hundreds of dollars. Kawung Kawung is another very old design consisting of intersecting circles, known in Java since at least the thirteenth century. This design has appeared carved into the walls of many temples throughout Java such as Prambanan near Jogjakarta and Kediri in East Java. For many years, this pattern was reserved for the royal court of the Sultan of Jogjakarta. The circles are sometimes embellished inside with two or more small crosses or other ornaments such as intersecting lines or dots. It has been suggested that the ovals might represent flora such as the fruit of the kapok (silk cotton) tree or the aren (sugar palm). Ceplok Ceplok is a general name for a whole series of geometric designs based on squares, rhombs, circles, stars, etc. Although fundamentally geometric, ceplok can also represent abstractions and stylization of flowers, buds, seeds and even animals. Variations in color intensity can create illusions of depth and the overall effect is not unlike medallion patterns seen on Turkish tribal rugs. The Indonesian population is largely Muslim, a religion that forbids the portrayal of animal and human forms in a realistic manner. To get around this prohibition, the batik worker does not attempt to express this matter in a realistic form. A single element of the form is chosen and then that element is repeated again and again in the pattern. Parang Parang was once used exclusively by the royal courts of Central Java. It has several suggested meanings such as 'rugged rock', 'knife pattern' or 'broken blade'. The Parang design consists of slanting rows of thick knife-like segments running in parallel diagonal bands. Parang usually alternated with narrower bands in a darker contrasting color. These darker bands contain another design element, a line of lozenge-shaped motifs call mlinjon. There are many variations of this basic striped pattern with its elegant sweeping lines, with over forty parang designs recorded. The most famous is the 'Parang Rusak' which in its most classical form consisting of rows of softly folded parang. This motif also appears in media other than batik, including woodcarving and as ornamentation on gamelan musical instruments. Washing Batik Harsh chemical detergents, dryers and drying of fabrics in the sun may fade the colors in batik. Traditionally dyed batiks should be washed in soap for sensitive fabrics, such as Woolite, Silky or Halus. Fine batik in Indonesia is washed with the lerak fruit which can be purchased at most traditional markets. A bottled version of this detergent is also available at batik stores. Be sure to line dry batik in a shady area and not in direct sunlight. Modern Batik Modern batik, although having strong ties to traditional batik, utilizes linear treatment of leaves, flowers and birds. These batiks tend to be more dependent on the dictates of the designer rather than the stiff guidelines that have guided traditional craftsmen. This is also apparent in the use of color that modern designers use. Artisans are no longer dependent on traditional (natural) dyes, as chemical dyes can produce any color that they wish to achieve. Modern batik still utilizes canting and cap to create intricate designs. Fashion designers such as Iwan Tirta have aggressively introduced batik into the world fashion scene. They have done much to promote the Indonesian art of batik dress, in its traditional and modern forms. The horizon of batik is continuing to widen. While the design process has remained basically the same over the last century, the process shows great progress in recent decades. Traditionally, batik was sold in 2 1/4 meter lengths used for kain panjang or sarong in traditional dress. Now, not only is batik used as a material to clothe the human body, its uses also include furnishing fabrics, heavy canvas wall hangings, tablecloths and household accessories. Batik techniques are used by famous artists to create batik paintings which grace many homes and offices. Fine quality handmade batik is very expensive and the production of such works is very limited. However, in a world that is dominated by machines there is an increasing interest in materials that have been handmade. Batik is one of these materials. During your stay in Indonesia, take advantage of your time here to learn more about the fascinating world of batik. Have a batik dress or men's business shirt made for you by a seamstress or tailor. Visit batik factories in Jogjakarta, Surakarta or Pekalongan to see for yourself how the intricate process is conducted or ask questions of batik artisans giving demonstrations in stores such as Sarinah or Pasaraya in Jakarta. You will come away with sense of wonder over the time, effort and patience put into the creation of each batik cloth. You too may soon grow to love the distinctive waxy smell of batik and your batik acquisitions will provide many memories of your stay in Indonesia. Your support of the batik industry will also ensure that this art form grows to even greater peaks. Batik Home Furnishings One of the distinct pleasures of living in (or visiting) Indonesia is the opportunity to purchase some truly magnificent home furnishings made of batik. As the fabric is truly unique to Indonesia... this is definitely the best place to purchase batik! Batik factories can product batik to your order, with custom colors and designs in large rolls, ready to use for your home decoration projects. The 100% cotton fabric is usually preshrunk in the batik dying process and other fabrics are usually available with the batik design, should your design requirements warrant. Higher end shops also have design consultants who can help you with the layout of the room you are planning to design with your batik fabric and work with you on additional furnishings (pillows, bed covers, and cushions) to complete your color scheme. Additional informaiton on Batik in Indonesia Batik Designs: A Cultural Development Influenced by Changes in Time & Environment Batik Canting - beautiful wall hangings from antique batik Canting Batik - traditional hand batiking tool from Indonesia Kebaya - Indonesian Traditional Dress for Women - read about the blouse that is worn with the batik kain (sarong) in much of Indonesian traditional dress. Charles van Santen - photo collection of Batik Tulis and information on the production process Click here to see a You Tube video by Piet Verboven of the batik making process! Links to other sites with good info on Indonesian batik This page was awarded the Golden Crane Creativity award for its contributions towards providing instructional information on batik.

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Komodo National Park

Komodo National Park is located in the center of the Indonesian archipelago, between the islands of Sumbawa and Flores. Established in 1980, initially the main purpose of the Park was to conserve the unique Komodo dragon (Varanus komodoensis) and its habitat. However, over the years, the goals for the Park have expanded to protecting its entire biodiversity, both terrestrial and marine. In 1986, the Park was declared a World Heritage Site and a Man and Biosphere Reserve by UNESCO, both indications of the Park's biological importance.

Komodo National Park is located in the center of the Indonesian archipelago, between the islands of Sumbawa and Flores. Established in 1980, initially the main purpose of the Park was to conserve the unique Komodo dragon (Varanus komodoensis) and its habitat. However, over the years, the goals for the Park have expanded to protecting its entire biodiversity, both terrestrial and marine. In 1986, the Park was declared a World Heritage Site and a Man and Biosphere Reserve by UNESCO, both indications of the Park's biological importance.

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Komodo National Park includes three major islands: Komodo, Rinca and Padar, as well as numerous smaller islands creating a total surface area (marine and land) of 1817km (proposed extensions would bring the total surface area up to 2,321km²). As well as being home to the Komodo dragon, the Park provides refuge for many other notable terrestrial species such as the orange-footed scrub fowl, an endemic rat, and the Timor deer. Moreover, the Park includes one of the richest marine environments including coral reefs, mangroves, seagrass beds, seamounts, and semi-enclosed bays. These habitats harbor more than 1,000 species of fish, some 260 species of reef-building coral, and 70 species of sponges. Dugong, sharks, manta rays, at least 14 species of whales, dolphins, and sea turtles also make Komodo National Park their home.

Threats to terrestrial biodiversity include the increasing pressure on forest cover and water resources as the local human population has increased 800% over the past 60 years. In addition, the Timor deer population, the preferred prey source for the endangered Komodo dragon, is still being poached. Destructive fishing practices such as dynamite-, cyanide, and compressor fishing severely threaten the Park's marine resources by destroying both the habitat (coral reefs) and the resource itself (fish and invertebrate stocks). The present situation in the Park is characterized by reduced but continuing destructive fishing practices primarily by immigrant fishers, and high pressure on demersal stocks like lobsters, shellfish, groupers and napoleon wrasse. Pollution inputs, ranging from raw sewage to chemicals, are increasing and may pose a major threat in the future.

Today, the PKA Balai Taman Nasional Komodo and PT. Putri Naga Komodo are working together to protect the Park's vast resources. Our goals are to protect the Park's biodiversity (both marine and terrestrial) and the breeding stocks of commercial fishes for replenishment of surrounding fishing grounds. The main challenge is to reduce both threats to the resources and conflicts between incompatible activities. Both parties have a long term commitment to protecting the marine biodiversity of Komodo National Park.

CHECK OUT : Welcome Links to other sites Contributors

Komodo National Park includes three major islands: Komodo, Rinca and Padar, as well as numerous smaller islands creating a total surface area (marine and land) of 1817km (proposed extensions would bring the total surface area up to 2,321km²). As well as being home to the Komodo dragon, the Park provides refuge for many other notable terrestrial species such as the orange-footed scrub fowl, an endemic rat, and the Timor deer. Moreover, the Park includes one of the richest marine environments including coral reefs, mangroves, seagrass beds, seamounts, and semi-enclosed bays. These habitats harbor more than 1,000 species of fish, some 260 species of reef-building coral, and 70 species of sponges. Dugong, sharks, manta rays, at least 14 species of whales, dolphins, and sea turtles also make Komodo National Park their home.

Threats to terrestrial biodiversity include the increasing pressure on forest cover and water resources as the local human population has increased 800% over the past 60 years. In addition, the Timor deer population, the preferred prey source for the endangered Komodo dragon, is still being poached. Destructive fishing practices such as dynamite-, cyanide, and compressor fishing severely threaten the Park's marine resources by destroying both the habitat (coral reefs) and the resource itself (fish and invertebrate stocks). The present situation in the Park is characterized by reduced but continuing destructive fishing practices primarily by immigrant fishers, and high pressure on demersal stocks like lobsters, shellfish, groupers and napoleon wrasse. Pollution inputs, ranging from raw sewage to chemicals, are increasing and may pose a major threat in the future.

Today, the PKA Balai Taman Nasional Komodo and PT. Putri Naga Komodo are working together to protect the Park's vast resources. Our goals are to protect the Park's biodiversity (both marine and terrestrial) and the breeding stocks of commercial fishes for replenishment of surrounding fishing grounds. The main challenge is to reduce both threats to the resources and conflicts between incompatible activities. Both parties have a long term commitment to protecting the marine biodiversity of Komodo National Park.

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Wakatobi Island

Wakatobi Dive Resort Sulawesi, Indonesia
Island Dreams' Ken Knezick has recently returned from leading his 14th dive expedition to Wakatobi Resort. He keeps going back because of a firm belief that Wakatobi's diving is among some of the very best in the world. Below is Ken's report, compiled and updated over the past twelve years of travel to Wakatobi.

Once you have digested this report, we offer additional Wakatobi information:

• Schedules, Itineraries, and Pricing
  
• Wakatobi Update - Latest News & Reviews
  
• Candid Comments from Recent Wakatobi Guests
  
• Why Wakatobi? - Ken Explains his Passion
  
• Wakatobi Photo Gallery

• Return to: Explore-Indonesia.com

Where the heck is Wakatobi? - Wakatobi Resort is in far Southeastern Sulawesi, Indonesia, positioned in the midst of a remote island archipelago group known to adventure travelers as Tukang Besi. Wakatobi is named after the four islands that surround it, Wangi Wangi, Kaledupa, Tomia, and Binongko. (Note the anagram Wa Ka To Bi). Yes its location is remote, quite literally on the fringe of "civilization." But that's precisely the point, for this remoteness is what makes the trip worthwhile.

Great News - While early explorations required an extended ferry boat ride from Kendari, it is now far easier to reach Wakatobi Resort. An excellent air strip has been constructed on the neighboring island of Tomia, receiving direct charter flights from Bali to the resort. The aircraft in use is an excellent Fokker 50. That is a 50-passenger, twin-engine turbo prop with two pro pilots and plenty of room for guests and gear. This air transit is a wonderful improvement to the Wakatobi experience, improving supply lines and making access immensely more comfortable and efficient.

On Arrival - From the Tomea airstrip, a 10-minute van ride is followed by a short boat ride across the channel to the resort's front door. Each time I return to Wakatobi it looks more like the ultimate island paradise of my dreams. If one were going there with visions of the Hyatt Regency Grand Cayman in mind, no doubt they'd be disappointed. On the other hand, if barefoot elegance and natural beauty are more your style, then you are in the right place. You'll take off your shoes to step ashore, and never give them another thought for the duration of your dive trip "at the end of the world."

Wakatobi Resort - This comfortable 26-room resort is set on the finest corner of the diminutive island of Tolandono. Facing the sea and the setting sun, the spacious main house is fronted by soft white sand beach and framed by large coconut palms swaying in the warm breeze. It's a showpiece of local materials, combining modern design concepts with traditional construction methods. The beautiful new open-air dining room and state of the art kitchen are just a few paces from the ocean. The old dining area has been converted into a spacious lounge, while the old long house now houses an air-conditioned library with a computer offering web and email access. The new lodging rooms are spacious individual bungalows. All rooms are now air-conditioned, and include private bath, good beds, ceiling fans, and big windows for breezy ventilation. Each bungalow has a pleasant little porch and a couple of lounge chairs for reading and enjoying the natural beauty of this remote and intriguing tropical island.

Wakatobi's great new bungalows...
cool, clean, comfortable, and VERY close to superb diving.

The dive shop, gear lockers, and charging station are right next to the longhouse. In the equipment area, hangers are provided for guests' wet-suits and bcd's, and baskets for the rest of the gear. There are two air-conditioned camera rooms with 110 and 220 volt charging stations and plenty of space to change film, batteries, and digital capture cards. Considering the remote situation, Wakatobi's dive shop is well supplied. Available rental equipment includes masks, fins, snorkels, wetsuits, bcd's, and regulators with gauge console. In deference to guest comfort, the electrical generator and air compressor are placed well back in the jungle completely out of hearing.

Got Juice? - While power taps in the rooms are 220-volt, on request 110-volt converters may be supplied for your personal use. For re-charging of strobes, dive lights, etc., a convenient charging station in the dive shop provides both 110-volt and 220-volt outlets. FYI - Guests who bring disposable batteries are asked to pack them back out with them. The management's plan is that the heavy metals of decaying batteries will not be added to this natural environment.

The Dive Boats - Wakatobi now has a nice fleet of locally constructed dive boats. Four excellent 60-foot long dive boats were built in the neighboring village of Waha, specifically to the resort's requirements. Stable, spacious and comfortable, these boats are very broad of beam (wide) with a tank rack down the middle. There is plenty of space to gear up, a built in dip tank for cameras, and a toilet at the stern. All the vessels have good ladders for exiting the water. Wakatobi's fleet has expanded sufficiently so that these 60-foot dive boats need take only ten or twelve divers each, with a boat crew of three plus two dive guides. As a result, a number of my guests have remarked that these are the most comfortable and service-oriented day diving boats they've ever been on.

The Dive Sites - All PADI Instructors, the divemasters of Wakatobi have thus far identified more than forty dive sites within a twenty-minute boat ride or less. Most of the dives are around the home island of Tolandono, neighboring Sawa and Lintea, or nearby Tomia. As a result, a broad and dazzling variety of reefs, bottom strata, and extensive coral communities are easily accessible. More dive site exploration is underway, enabling guests to experience dive sites rarely visited my man. Best of all is the fact that the entire region is now a protected National Marine Park.

Diving Freedom - Once a diver has demonstrated his or her ability, they will enjoy virtually total diving freedom, afforded 24 hours per day. In a typical eleven-night stay, I personally logged 46 dives. One gung-ho fellow in my party, Michael Caron, has now visited Wakatobi three times. His logged dives during those trips are 57, 62, and 60 dives respectively. Wakatobi offers dawn dives, boat dives, beach dives, night dives, and everything in between. On the boat dives, owner Lorenz Maeder apologetically asks that divers limit their bottom time to 70 minutes. This generous cap is suggested in deference to the guests with lesser air consumption who might sit on the boat waiting. For dives on the house reef of course, there is no limit but the buddy teams' desire to stay wet and have fun. All diving should be within the no-decompression limits.

The Wakatobi Diving Experience - The keywords here would have to be the immense diversity and pristine condition of the reefs. The coral communities are as rich as I've seen anywhere in the world. There are massive coral heads, trees, and colonies swarming with reef fishes. There are a great variety of reef structures, and a delightful density of variously colored soft corals. Reefs start in three feet of water or less and the best diving wonderfully shallow. With easy access to the excellent house reef, the night and dawn diving are superb. In my estimation, Wakatobi offers the best shore dive in the world. The broad variety of dive sites and marine life meant that after 11 days of diving, we were still discovering new critters constantly.

My Favorite Sites - The house reef at Wakatobi is so good that some of the first professional photographers who visited elected never to make a boat dive. However, in my experience these big-shots were clearly "missing the boat." In fact, while I found the house reef to be nothing short of superb, a number of the dive sites make even it appear tame. Based on my own first twelve day visit to Wakatobi, and 46 logged dives for the duration, here are some of my favorite dive sites:

The House Reef - Actually three different sites are accessible directly off the beach in front of the resort. It's only 50 yards from the shoreline to the drop-off. You can go right, left, or enjoy the broad center reef. Highlights are a great variety of fishes, invertebrates, macro subjects, beautiful soft corals, gorgonians, tunicates, whips, sponges, rays, overhangs, and beyond all else an unsurpassed rainbow of color.

Onamobaa Cavern - An extension of the house reef, this is one of the very best soft coral dives. Often compared with "Hanging Gardens" at Sipadan, it's actually yet larger and more diverse. Every part of the reef is covered with color and life. To preserve the natural beauty from an excess of bubbles, divers are now asked not to enter the cavern space.

Lorenz's Delight - Begin by plunging deep, where forests of immense yellow wire corals spiral 15 feet or higher off the steeply sloping wall. Then work your way up to the 60-foot range, where a continuing overhanging ledge harbors big sea fans framed in colorful soft corals. The brightly hued corals continue up to within a foot or two of the surface, flashing with schooling fish life. This dive has it all!

Inka's Palette - Beginning as a gentle slope, Inka's Palette plummets into the depths with multiple overhangs. There are very large tube sponges and a giant tridachna clam. The top section is covered in huge leather corals. As its name suggests, you will enjoy a colorful palette of hard and soft corals and good fish life.

Pastel Reef - Similar to Inka's in the array of life, the colors are diverse yet slightly more subdued to pastel hues. At depth, gardens of neon yellow wire corals spiral out into surrealistic shapes. Just remember that it's the current that makes the soft corals bloom. When the current is running, it's nothing short of a vastly beautiful dive.

Turkey Beach - When the current and sun are right this is a delightful shallow drift through an endless, brightly lit coral garden. A constant overhang runs from 15 to 30 feet. Two large canyons contain schools of batfish and bronze snappers. It's also a good spot for the chance to encounter turtles, eagle rays, and schools of bumphead parrotfish. This is one of the few places where, at around 80-90 feet, I noted a thermocline. Visibility above it was good, and below it was excellent.

Mari Mabuk (Let's Get Drunk) - This is a long ridge running from 15 down to 80 feet. It features huge sea fans, coral heads adorned in bright soft corals, and feather stars blooming in a frequently swift current. The saddle that bridges the reef contains blue ribbon eels, leaf fishes, crocodile fish, scorpion fish, nudibranches, and more.

Roma - In my opinion, Roma is as good as any dive site in the world. Starting in bright rays of light as shallow as five feet, large schools of fusiliers, pyramid butterfly, sergeant majors, hound fish, red tooth triggerfish and others swirl around you in an endless dance. A compact pinnacle in the center of the reef, crammed with color and life, is a complete dive in itself. Banded sea snakes are common here, but fear not, they are placid creatures and make exciting photo subjects. This is a dive you will definitely want to repeat, for "all roads lead to Rome."

Unlimited Bottom Time - Of special note is the fact that most every one of these reefs begins in just a foot or two of water. While there are some awesome, bottomless deep dives at Wakatobi, in almost all cases for me the most interesting diving was between 60 feet and the surface. The majority of my photos were shot above 40 feet. Resort owner Lorenz Maeder loves diving as much as any one I have ever met. He knows what you've come for, and is not afraid to provide it. The final result is that, for capable divers, virtually unlimited bottom time is attainable, along with endless opportunities for underwater photography.

Avoid the Crowds - Another critical fact is that Wakatobi is totally removed from the rest of the diving world. At the time of this writing, you and your dive buddies will be the ONLY divers enjoying the huge wealth of diving that surrounds the resort. Of equal importance to those in need of a diving vacation is the realization that there's no TV, no phone, no newspapers, etc. For the duration of your stay, you can be blissfully ignorant of the baser goings on in the rest of world. Fear not though, the resort is connected to the world with satellite telephone, fax, and email. You will also enjoy the opportunity to meet the local people, see how they live, and come away with photographs to remind you of how lucky we really are in the Western world.

What Marine Life Can You See? - After the first week of diving, one of my groups sat down together after dinner to log the marine life we had encountered thus far. Following is a partial list of our sightings:

Anemone fish, angel fish, anthias, banded coral shrimp, barracuda, batfish, bigeye, blanquillo, blennies, blue ringed octopus, blue spotted sting rays, boxfish, bream, broad range of lionfish, bumphead parrot, butterfly fish, cardinal fish, catfish, clown fish, comet longfin, conger eel, crabs, coris, crocodile fish, cuttlefish, damselfish, dolphin, splendid dottyback, durgeons, eagle rays, fairy basslets, fire dartfish, flashlight fish, filefish, flounder, frog fish, fusiliers, pufferfish, goatfish, gobies, grouper, gurnards, Harry the pet jawfish, hawkfish, houndfish, jack, leaf fish, lizardfish, lobster, mantis shrimp, many live shells, many nudibranch, moorish idols, moray eel, mullet, needlefish, octopus, ornate ghost pipefish, panther fish, rabbitfish, razorfish, rockhinds, scorpionfish, sea cucumbers, sea snakes, sharp nosed puffer, shrimp, slipper lobster, snapper, squirrel fish, starfish, surgeonfish, sweet lips, tridacna clams, titan triggerfish, travalles, tuna, tunicates galore, turtle, unicorn fish, various triggerfish including the lovely Picasso trigger, white tip shark, and of course we saw your wrasse.

The Corals - Even more so than the fishes, at Wakatobi one swims about in awe of the lovely hard and soft coral formations. For my part, I can tell you that Wakatobi has presented me with the most beautiful, healthy, diverse, and pristine reefs I've ever had the pleasure of diving. My conviction is based on twenty-five years of dive travel, and 3,000+ logged dives. But it's still just one man's opinion. For additional perspective, I asked my group to provide some descriptive assistance. Some of the adjectives that were immediately put forward included: "Colorful, enormous, eye popping, lush, psychedelic, rainbowed, riotous, stupendous, varied, verdant," and the one tossed out first - "voluptuous." Seems that they shared my estimation! At this end of this report you will also find a link to verbatim customer comments from recent Wakatobi visitors.

The Food - Of course, divers can not survive on Nitrogen alone. Remarkably, this remote diving outpost now hosts superb Balinese chefs trained in 5-star hotels. With the combination of great local cuisine, and the addition of Continental flair, the meals at Wakatobi are better than ever. Breakfast always includes excellent bread baked at the resort, butter, peanut butter, various jams, oatmeal, eggs cooked to order, and a noodle dish. Almost every lunch and dinner includes a home made soup, rice or noodles, and fish or chicken. My vegetarian diet, and that of other guests, was also easily accommodated. Desserts range from fresh tropical fruits, to fancy European-style confections. Filtered drinking water and hot water for tea and coffee are made available 24 hours per day. Beer and soft drinks are available at moderate additional expense.

Tips for Underwater Photographers - Okay, I've been shooting underwater for more than 25 years. I'm far from a pro photog, but do well enough for the slide shows I present around the country, brochures, web site, etc. On my first trip to Wakatobi I brought 38 rolls of film...and ran out of film with two days to go. I shot 60mm and 105mm macro, I shot 20mm and 24-50mm wide angle in the housing, and the 15mm on the Nikonos. The only hard part is deciding which lens to go with next. Now digital photography makes it even more fun! There are limitless opportunities for fish and invertebrate pictures, but the soft corals and huge fans are so inviting that it's hard to resist setting up just one more wide-angle op. I was also glad to have handy a good topside camera with telephoto lens. It's a full time job just to photograph the strange assortment of native dugout canoes, sail boats, and tramp supply vessels that sail around the point beside the resort. You'll also have many opportunities to photograph the local people, villages, and traditional ways of Indonesian life. Bottom line - bring a broad variety of camera options…and plenty of digital capture cards!

Range of Conditions:

Topside Temperature......26-30 centigrade average 28.....(76-86 Fahrenheit)
Water Temperature.........24-29 centigrade average 27....(78-82 Fahrenheit)
Visibility Range...............20-50 meters............................(60-150 feet)

Sea Conditions - In season, sea state around the resort is generally calm and flat. Rides to the dive sites are relatively short, and lee shore diving is always available.

Currents - Indonesian diving is well known for unpredictable currents. At Wakatobi it is not uncommon to experience occasional current changes during the course of a dive. As a result, some are anchor dives and others are planned as drift dives. The boat operators are very good at following the bubbles, and divers are provided with large and effective inflatable surface markers. Many dives may be enjoyed with moderate or little current, but overall this is a destination for more experienced divers, comfortable and capable of diving in current and a variety of conditions.

Seasonality - The resort is open late March through the end of December. It's closed during the wet monsoon period in January and February. My five visits have ranged from August through early December, and the conditions, both topside and underwater, were nothing less than excellent. We enjoyed calm seas, picture perfect skies, and comfy temperatures.

Is Wakatobi the Place for You? - If you can't sleep on long plane rides, or are a squeamish traveler, better stay home. But if you really love to dive, and are looking for your next great underwater adventure - consider making the pilgrimage to Tukang Besi, Indonesia and see Wakatobi Resort for yourself. I suspect you'll be very glad that you did.

Yours in diving, Ken Knezick - Copyright Island Dreams

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Welcome to Mount Rinjani National Park of Lombok Island Indonesia

The Concepts of the Rinjani Trek Management Board
The Rinjani Trek is managed by a unique partnership of National Park, tourism industry and the local community. Activities focus in the Community – run cooperatives at Rinjani Trek Centre ( RTC ) in Senaru and the Rinjani Information Centre ( RIC ) in Sembalun Lawang. Under the guidance of the Rinjani Trek Management Board ( RTMB ), each are run by a stakeholders’ committee who look after roster systems for guides and porters, village tours, trek trail maintenance, and handicraft sales. Revenue from tourism activities and entry fees is used for conservation, training and management of the Rinjani Trek, thus ensuring sustainability.

Conceptually, the project started with three stakeholder circles labeled “Park Management”, “Community Development” and “Tourism”. Whit Project assistance, the Park set out to engage with the stakeholder groups in each of the circles, independently at first and then, as the groups got used to deal with each other, increasingly together. This approach recognized that it takes time for the multi-skilled “cross-over” people that ecotourism requires (people who can operate in between the circles) to emerge.

Sasak Hill Trek
A two days-one night, great experience over Pegasingan Hill We invite you to join our two–day walk through the rice fields, to chat with the farmers and enjoy the scenery from the…
Program Details

Best time to trek in Rinjani : April to November

Designated : Minister of Forestry, SK.No.280/Kpts-II/97,
a total area of 41,330 hectares
Location : Regencies; West Lombok, Central Lombok and
East Lombok, Province of West Nusa Tenggara

Temperature 23° – 30° C
Rainfall 2,000 mm/year (on average)
Altitude 550 – 3,726 m asl.
Geographical location 116°18′ – 116°32′ E; 8°18′ – 8°33′ S

Advisory Warning For Tourists
Recently tourists have purchased trekking packages from a false office in Padang Bai, Bali claiming to represent the Rinjani Trek Management Board (RTMB). Please note that RTMB has only one main office located at the Lombok Raya Hotel in Mataram with representative offices at the Rinjani Trek Center in Senaru and Rinjani Information Center in Sembalun, all located on the island of Lombok. Any other locations claiming to represent RTMB are fraudulent and should be avoided. If you have any questions, Contact Us to submit an enquiry.

Booking and Reservation Details:

Rinjani Online Trekking Organizer
Lombok Tropic Holidays Indonesia
Jl. Barakuda No 09
BTN Griya Batu Bolong Senggigi
Senggigi – West Lombok NTB 83355
Indonesia
Phone and Fax : 0370 692 179
Cell for 24 hours reservation : +62 818 057 20243
Email : trek@rinjanimountain.com
www.rinjanionline.com
www.rinjanimountain.com
www.mountrinjani-lombok.com
www.gunungrinjani.com

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RAJA AMPAT

RAJA AMPAT ISLANDS WEST PAPUA ISLAND - INDONESIA The Richest Marine Habitat in the World The Raja Ampat, or “Four Kings,” archipelago encompasses more than 9.8 million acres of land and sea off the northwestern tip of Indonesia’s West Papua Province. Located in the Coral Triangle, the heart of the world’s coral reef biodiversity, the seas around Raja Ampat possibly hold the richest variety of species in the world. The area’s massive coral colonies show that its reefs are resistant to threats like coral bleaching and disease —threats that now jeopardize the survival of corals around the world. In addition, Raja Ampat’s strong ocean currents sweep coral larvae across the Indian and Pacific Oceans to replenish other reef ecosystems. Raja Ampat’s coral diversity, resilience to threats, and ability to replenish reefs make it a global priority for marine protection. Survey Confirms Highest Marine Biodiversity on Earth In 2002, The Nature Conservancy and its partners conducted a scientific survey of the Raja Ampat Islands to collect information on its marine ecosystems, mangroves, and forests. The survey brought Raja Ampat’s total number of confirmed corals to 537 species— an incredible 75% of all known coral species. In addition, 899 fish species were recorded, raising the known total for Raja Ampat to an amazing 1,074. On land, the survey found lush forests, rare plants, limestone outcroppings, and nesting beachesfor thousands of sea turtles. Though human impacts here are less severe than elsewhere in Indonesia, Raja Ampat’s natural resources are endangered by over fishing and destructive fishing, turtle poaching, and unsustainable logging. The Indonesian government recently established Raja Ampat as a separate administrative unit, which will give communities a greater say in managing the natural resources upon which their livelihoods depend. This structure also offers an important opportunity to include conservation in the spatial planning of the newly formed local government. Ensuring Conservation through Partnerships To address these issues, the Conservancy launched a new project to protect Raja Ampat, working in close partnership with the government and communities to: 1) contribute to a comprehensive conservation action plan to protect Raja Ampat’s reefs and forests; 2) help incorporate marine protected area management into long-term planning and policy; and, 3) establish a network of marine protected areas for Raja Ampat. The Conservancy’s ultimate goal is to protect Raja Ampat’s magnificent reefs while sustaining the livelihoods of local people. Raja Ampat includes the four large islands of Waigeo, Batanta, Salawati, and Misool, plus hundreds of smaller islands. The archipelago is part of an area known as the Bird’s Head functional seascape, which also contains Cenderawasih Bay, the largest marine national park in Indonesia.

Raja Ampat Dive Eco Lodges @rajaampatlodges.com 2009

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