Revisiting the Marketing of the Indonesian Batik and the Nigerian Adire

. This paper aims to fill the gap in the marketing of Batik and Adire. The methodology deployed is a comparative analysis of literature and legal instruments. The paper also uses data to comparatively analyze the impact of the marketing of Batik and Adire in the creative industries in Indonesia and Nigeria. The paper's findings show that both fabrics share some commonalities in making them, and their designs have sociocultural meanings. They contribute to sustainable socio-economic and cultural development of both countries. Moreover, both fabrics have cultural, aesthetic, artistic, and religious values. They play significant roles in tourism, art-craft, the creative industry, and the way of life of Indonesians and Nigerians. Both fabrics require similar measures to enhance their marketing strategies given their marketing limitations. Conclusively, common measures can be used to enhance the marketing of both fabrics in terms of the use of technology. Hence, both countries should put appropriate legal regimes, regulatory frameworks, facilities, and infrastructure in place to achieve that. Also, the creation of textile cottage industries, the establishment of small and medium enterprises, and public-private partnerships are key in bolstering the marketing of Batik and Adire.


Introduction
Indonesia and Nigeria share many commonalities. This is exemplified by both countries' multiethnic, multi-lingual, multi-religious, multi-cultural, highly populated, and riparian nature.
Particularly, both countries are developing economies that rely on natural resources, such as crude oil, for their economic sustenance and development (Anele, 2020a, andAnele, 2020b). Also, the existence of a plurality of ethnic groups and cultures means that tourism, art-craft, and the creative industry contribute to the diversification of the countries' economies. Consequently, there are a lot of similar art-crafts and cultural heritage items in both countries. Illustratively, while both countries' art-craft industries include wood and metal carvings, Indonesian Batik and Nigerian Adire are different dye-resist methods for adding designs to fabrics. Batik and Adire fabrics play a significant role in the culture, tradition, cultural heritage, and in recent times, public health of Indonesians and Nigerians. Besides, both fabrics contribute to the economies of Indonesia and Nigeria. Above all, due to globalization, the importance of Batik and Adire has been bolstered by using these fabrics in producing face masks in the era of the COVID-19 pandemic (see Figures 3 & 8).
Batik and Adire have sociocultural and economic importance in Indonesia and Nigeria.
Nonetheless, there is a dearth of research comparing both fabrics, especially regarding their marketing and its limitations. Moreover, existing marketing strategies for both fabrics, such as online platforms, are limited due to infrastructural challenges, like irregular power supply. Thus, appropriate measures are required to bolster these strategies. Given the importance of these fabrics in satisfying the citizens' clothing needs and the socio-economic and cultural development of Indonesia and Nigeria, this paper aims to introduce measures to promote and enhance sustainable marketing of Batik and Adire. The paper argues that since both countries and the fabrics have many commonalities, similar recommendations can apply in the marketing of Batik and Adire.
This can be achieved by focusing on infrastructure development, like regular power supply and strong and broad internet coverage, and provision of facilities, such as computers, to the small textile and medium enterprises (SMEs) in both countries. They are instrumental in using advanced technology, inter alia, virtual reality, and 3D printing to effectively market both fabrics.
Further, the paper advocates for expanding the textile cottage industries and SMEs in both countries, where these infrastructures and facilities would be used efficiently and productively to increase the number of Batik and Adire that are produced. In addition, the use of public-private partnership (PPP) and foreign direct investment (FDI) is germane in the use of technology by the textile cottage industries and SMEs to market Batik and Adire. Above all, this paper, among other things, identifies the use of legal instruments and policies to create an enabling environment for implementing the above measures to bolster the marketing of these fabrics.
Against this backdrop, this study uses data, academic publications, and pictograms to analyze the historical development, marketing, and socio-economic and cultural importance of Batik and Adire in Indonesia and Nigeria. It also analyses measures to enhance the marketing of the fabrics to strengthen and sustain their socio-economic and cultural importance. This study is significant because, despite the commonalities between both countries, there is a dearth of literature The word Batik depicts a process for dying cloths using a resist process where the designs are stamped on the fabric through waxing and dying (Steelyana, 2012). The word Batik was derived from the Javanese word 'amba' (to write) and 'tritik' (little dots) (Steelyana, 2012 Adire, which means 'tied and dyed', is a textile art depicting the people's culture, especially the Yoruba ethnic group in Nigeria. Adire, in Yoruba language, is made up of three words, to wit, aa (to take), di (to tie), and re (to dye) (Renne, 2020). Though the tie and dye method of creating motifs on fabrics is common in Nigeria, it has attained its highest artistry in Yorubaland (Solomon & Ezea, 2015). Solomon and Ezra (2015) opine that the origin of tie and dye is unknown.
Nevertheless, documented evidence suggests that "the art has been practiced in China between 615 and 906 AD, in Japan between 555-794 AD and in some parts of Asia, Indonesia, India, and Africa, particularly Nigeria" (Solomon and Ezra, 2015). From a historical standpoint, it is opined that the making of Adire was introduced to the Yoruba people due to the people's aesthetic, cultural and clothing needs, which later created an entrepreneurial opportunity for art-craft development and commercialization. Areo and Kalilu (2013) opine that "(t)raditional dyeing with many indigenous plants as a vocation and art tradition, especially indigo dyeing is a specialized art which has become a legacy of the Yoruba women, and a hereditary craft passed from mothers to daughters." Given the textile industry's importance in poverty alleviation and the need to diversify the economy from overreliance on the oil and gas sector, the Nigerian government introduced certain policy initiatives to strengthen other sectors: the art-craft industry. Some of these initiatives that impacted the production of Adire in Nigeria include Better Life for Rural Women Programme Similar to Batik, Adire, which is synonymous with the tie and dye resist process, includes protecting parts of the fabric by tying them up with twine to preserve the tied parts and prevent the dye from penetrating the ties. Figure 10 reveals the use of the wooden block to add wax to the fabric, creating specific designs. This process produces beautifully patterned cloths on an indigodyed ground that employs the pleating, rope tying, binding, and sewing of seeds, small stones, and beads (Amubode, 2009). It is significant to note that the hand-drawn and stamped Batik methods are also used in producing Adire. For example, kampala and cassava resist styles are similar to various Batik techniques (Amubode, 2009).
In congruence with Batik, kampala is handmade, which implicates the marketing of the fabric as a product of traditional technology that requires intensive labor in its making (Areo and Areo, 2014). Thus, Adire's marketing relies on producers, retailers, artists-in-residence, and designers.
The fabric is mostly marketed in local markets (Oyeniyi, 2013). Quality and cheap imported fabrics implicate the effective marketing of Adire in Nigeria (Eleboda and Abiala, 2020).
Technology advancement and the use of machines and chemicals in producing Adire affect the marketing of the fabric in Nigeria (Braide, 2016). Also, social media platforms, like Facebook, are used in marketing Adire in Nigeria (Nyekwere et al., 2014), which implies that regular power supply, development of appropriate infrastructure, proper policy and programs, and broad internet connection are key in this process.

Methodology
This research comparatively analyses Batik and Adire to identify commonalities and differences in their marketing. Further, dialectical analysis of pictograms, existing data, and scholarly literature is adopted in the research. More importantly, a robust assessment of legal instruments is utilised in the research beyond interrogating government policies and programs. The use of these methods is necessary due to limited funds. Also, bureaucratic challenges occasioned by Covid-19 prevented these researchers from traveling to various cities where the fabrics are produced and marketed to conduct interviews or distribute questionnaires to experts on Batik and Adire in Indonesia and Nigeria.

Comparative analysis of Batik and Adire
It is important to note that Batik and Adire are different methods of introducing dye resistance to fabrics. Consequently, Batik involves the application of fluid or semifluid substance, which solidifies on the fabric, making it impervious to dye penetration and later its removal from the fabric (Amubode, 2009 (Osinowo, 1996& Meilach, 1973). This can be produced on the fabric using either Batik or Adire. To the Osogbo people, therefore, the Batik technique strictly means the application of hot wax on fabrics as the resist agent (Areo & Omisakin, 2016).
In a similar vein, it is observed that symbols, colors, and motifs characterize the production of there is a need to strengthen its marketing through adequate funding and investment.

Nigeria
Like Batik, Adire plays a key role in Nigeria's textile industry. Akinsola (2019) opines that the fashion industry in Nigeria "has grown in size and sophistication, attracting global attention".
According to the GDP statistics from the National Bureau of Statistics (NBS), the textile, apparel, and footwear sector, which Adire is a part of, "averaged growth of 17% since 2010. This rise has been fuelled by an increase in demand but also partly by unprecedented initiatives that continue to edge Nigeria into the global fashion consciousness" (Akinsola, 2019). Additionally, Adire contributes to the art-craft industry, the tourism sector, and the art-craft entrepreneurial development in the country (Braide, 2016).
Adire creates job opportunities and income for Adire artisans and entrepreneurs (Saheed, 2013).  (Muhammad, et al., 2018). The dumping of quality and cheaper fabrics in Nigeria, the cost of production due to poor facilities, smuggling of foreign restricted textile materials into Nigeria, devaluation of the Naira, and dearth of spare parts for industrial plant and machinery maintenance are other challenges in the marketing of Adire in Nigeria (Okpala, et al. 2019). Also, the majority of the producers of Adire are unskilled in marketing, and they are exposed to some hazards at the different stages of production, like waxing, bleaching, and dyeing that involve contact with chemicals without proper medical care (Adekunle, et al., 2017). In summarising the challenges in the textile industry, which will impact the marketing of Adire, Akinsola (2019) posited that: Each part of the value chain has severe flaws. For example, cotton farming in Nigeria is currently at its lowest, and despite [the] rhetoric that suggests otherwise, textile manufacturing in the country remains minimal. The latter fact underpins policies like the Central Bank of Nigeria's decision to include textiles in its list of items banned from accessing foreign exchange. Beyond raw materials and manufacturing, the fashion industry also suffers from a shortage of capital and quality human resources.

Measures to enhance the marketing of Batik and Adire for sustainable socio-economic and cultural development of Indonesia and Nigeria
The marketing of these fabrics can be enhanced through their preservation. Kartika, et al. (2019) opine that the use of a thematic atlas to document Batik and Adire in media that store the history, motifs, and all information about both fabrics is a mechanism to preserve both fabrics. Beyond the preservation of fabrics, the use of thematic atlas culminates in disseminating information about the history, the development of the motifs, and the procedures for making fabrics (Kartika, et al., 2019). In terms of facilitating sustainable socio-economic and cultural development of Indonesia and Nigeria through tourism, art-craft and the creative industry, introducing a thematic atlas in both countries strengthens the awareness of the fabrics and their usages, thereby contributing to their marketing as well as conservation.
Another veritable method to enhance the marketing of Batik and Adire for sustainable socioeconomic and cultural development is encouraging and supporting the textile cottage industry.
Using Nigeria as a case study, textile cottage industries have existed in Nigeria for many years.
The existence of the textile cottage industry in Nigeria is supported by the availability of homemade raw materials as they are manually produced and hence, limited in quantity and production output, which is common in the resist dye craft and hand-printed textiles (Adiji, 2017).
Consequently, the governments of both countries should incentivize the textile cottage industry by providing funds to acquire land to build more textile cottage industries and procure modern facilities for adequate utilization of raw materials, production, and marketing of Batik and Adire.
More so, governments of both countries should introduce fiscal policies, like tax holidays, to the textile cottage industry to encourage both local and foreign investments in the sector to bolster the marketing of the fabrics. and kingship attributes, it is imperative to invest in the sector for sustainable economic growth and poverty eradication. The import of the provisions of this legislation is to strengthen, preserve, and develop, among other things, the marketing of Batik for the tourism and the creative industries with its attendant contribution to the Indonesian economy. Existing legal instruments and policies should also be implemented to strengthen PPP, the use of FDI, and technology transfer concerning the use of imported modern equipment to make the fabrics. PPP and FDI are crucial in providing funds, equipment, training, and infrastructure development needed to strengthen the marketing of Batik and Adire. These laws, regulations, and policies can be used as vehicles to support the marketing and promotion of these fabrics.

Conclusion
The