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Volume 9 , Number 1, May 2024 

 ISSN : 2579-8383 (Print) ISSN : 2579-8405 (Online) 

 

  

Symbolic Meaning Analysis of Ciwaringin Batik Motifs on the 

Strengthening Project of the Pancasila Student Profile (P5) for 

Elementary School Students 

 
Ayu Try Lestari, Nailah Tresnawati 

Universitas Swadaya Gunung Jati  
nailah.tresnawati@ugj.ac.id  

 

Accepted: 
Jan 14th 2024 

Reviewed: 
April 18th 2024 

Published: 
May 28th 2024 

 

Abstract  
The international community has recognized batik as a cultural heritage originating from Indonesia 
through UNESCO. Batik represents a nation's culture with distinctive motifs that carry unique 
and symbolic meanings. The purpose of this research is to analyze the symbolic meanings of the 
Ciwaringin batik motifs in the context of the Strengthening the Profile of Pancasila Students (P5) 
Project in primary schools. The research method employed is qualitative descriptive to gain a 
profound understanding of the symbolic meanings of Ciwaringin batik in the context of the 
Pancasila Student Profile Strengthening Project (P5) in primary school students. The research 
objects consist of five Ciwaringin batik motifs: Pecutan, Yusufan, Tebu Sekeret, Gribigan, and 
Pring Sedapur. The findings indicate that the patented motifs such as Pecutan, Yusufan, Tebu 
Sekeret, Gribigan, and Pring Sedapur carry valuable lessons, teaching character education that 
includes faith and piety in the one and only God, noble morality, global diversity, mutual 
cooperation, independence, creativity, and critical thinking. These principles of character 
education can be applied in broader life and society. 
 
 Keywords: :  Symbolic Meaning, Ciwaringin Batik Motif, Character Education 

 

 By Authors 
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International 
License. 

 

Introduction 

Batik is a cultural heritage of the nation characterized by unique and symbolically 

meaningful motifs. Various types of batik from the archipelago, visualized in the form of motifs, 

always carry their own meanings 1. Batik is a traditional fabric pattern representing a valuable 

heritage and icon for certain countries 2  The international community has recognized batik as a 

 
1 Afni Miranti et al., “Representasi Pendidikan Karakter Berbassis Kearifan Lokal Dalam Motif Batik Wahyu Ngawiyatan 

Sebagai Muatan Pendidikan Senirupa Di Sekolah Dasar,” Jurnal Basicedu 5, no. 2 (January 29, 2021): 546–60, 
https://doi.org/10.31004/basicedu.v5i2.763. 

2 Daud, N. M., Abdullah, S. R. S., Hasan, H. A., Ismail, N. I., & Dhokhikah, Y. (2022). Integrated physical-biological treatment 
system for batik industry wastewater: A review on process selection. In Science of the Total Environment (Vol. 819). 
https://doi.org/10.1016/j.scitotenv.2022.152931. 

mailto:nailah.tresnawati@ugj.ac.id
http://creativecommons.org/licenses/by-sa/4.0/
http://creativecommons.org/licenses/by-sa/4.0/


 
 

  
 
  

Volume 9, Number 1,  May 2024| 51 

 

  

cultural heritage originating from Indonesia through UNESCO. However, the general condition 

of Indonesian society nowadays reflects a crisis of self-identity as Indonesian citizens. Here, the 

crisis refers to a decline in responsibility, manners, loss of respect, fading culture, diminishing 

tolerance, bullying, and a loss of creativity that contributes to conflicts in society 3. Therefore, batik 

education is essential as it can enhance one's identity as an Indonesian citizen and foster love for 

the homeland 4. 

However, in reality, batik education is still rarely introduced in the field of education, 

especially in primary schools. According to Suryanti, the lack of knowledge about batik in schools 

can hinder the preservation of Indonesian cultural heritage and make it lose ground to foreign 

cultures. As time passes and human life evolves, many cultures fade in society, leading to a crisis 

of cultural loss 5. 

One phenomenon resulting from the crisis of self-identity as an Indonesian citizen is a 

recent case where a second-grade elementary school student became permanently blind after being 

stabbed with a meatball skewer by her senior 6.This situation reflects a moral crisis. The moral 

crisis occurring in Indonesian society, from educated individuals to political elites, indicates that 

character education and the religious teachings provided in schools and universities do not seem 

to have an impact on changing a person's behavior 7. This realization emphasizes the need to 

strengthen character education because it serves as the main asset in the 2013 curriculum that must 

be implemented in formal educational institutions at all levels 8. 

With the current curriculum, the Ministry of Education and Culture has incorporated the 

Strengthening the Pancasila Student Profile Project as one of its visions and missions, as outlined 

in Regulation No. 22 of 2020 on the Strategic Plan of the Ministry of Education and Culture for 

2020-2024 9. 

The Pancasila Student Profile, according to the Decision of the Head of the Board of 

Standards, Curriculum, and Educational Assessment No. 009/H/KR/2022, consists of six points: 

1) Believing in and Devoting to One Almighty God and Having Noble Manners; 2) Independent; 

3) Creative; 4) Cooperative; 5) Critical Thinking; 6) Global Diversity. These six points aim to shape 

the character education of students in line with Pancasila values 10. Several themes in the Pancasila 

Student Profile, such as local wisdom, are often used in elementary school learning. Through this 

theme, it is expected that students can cultivate curiosity and information acquisition skills through 

 
3 Alya Malika Fahdini, Yayang Furi Furnamasari, and Dinie Anggraeni Dewi, “Urgensi Pendidikan Karakter Dalam Mengatasi 

Krisis Moral Di Kalangan Siswa,” 2021. 
4 Aan Widiyono, “IMPLEMENTASI KARAKTER CINTA TANAH AIR MELALUI MENGGAMBAR MOTIF BATIK 

DI SEKOLAH DASAR,” vol. 38 (JUNI, 2022). 
5 Kenny Kenny and Mieke Choandi, “RUANG BUDAYA GLODOK, ANTARA BERHUNI, BUDAYA DAN ADAPTASI,” 

Jurnal Sains, Teknologi, Urban, Perancangan, Arsitektur (Stupa) 3, no. 1 (May 30, 2021): 497, https://doi.org/10.24912/stupa.v3i1.10780. 
6 Amalia Suci Rahmadani et al., “PSIKOEDUKASI UNTUK MENCEGAH PERILAKU BULLYING PADA SISWA-SISWI 

SD MUHAMMADIYAH 3 GRESIK ‘SAY NO TO BULLYING,’” 2023. 
7 Nandia Pitri, “NILAI PENDIDIKAN KARAKTER DALAM MOTIF BATIK INCUNG” 5, no. 3 (2022): 203–10, 

https://doi.org/10.31764. 
8 Jairoh Rakmawati, Dpd Santi, and Dan Khomarruzaman, “Karakter Siswa Kelas IV Sekolah Dasar Di Kota Cirebon,” Jurnal 

Ilmiah Pendidikan Dasar 3, no. 2 (2020): 154–65, https://doi.org/10.33603/.v3i2.4321. 
9 Dhira Romadhonna, Putri Satriyani, and Nuansa Bayu Segara, “Relevansi Nilai-Nilai Kearifan Lokal Pada Batik Gedog Untuk 

Menumbuhkan Profil Pelajar Pancasila Pada Pendidikan IPS Di Kabupaten Tuban” 3, no. 1 (2022): 33–46. 
10 Fauziah Mas’ula Soffa et al., “Peningkatan Kreativitas Siswa Dengan Pelatihan Pembuatan Tas Batik Ecoprint Di SD Negeri 

Playen III,” Jurnal Abdi Masyarakat Indonesia 3, no. 3 (April 16, 2023): 921–30, https://doi.org/10.54082/jamsi.773. 



 
 

  
 
  

Volume 9, Number 1,  May 2024| 52 

 

  

cultural exploration activities 11 

Based on this background, one local wisdom that can be used as a character education in 

the Strengthening the Pancasila Student Profile Project (P5) is batik. Previous research by 12 

regarding the character education values in incung batik motifs stated that philosophically, this 

batik depicts the character of the Kerinci community and teaches how noble individuals should 

behave towards others and the creator. 13 also researched batik motifs associated with character 

education, stating that the wahyu ngawiyatan batik motif contains values such as religious, 

tolerance, creativity, independence, curiosity, love for peace, and environmental concern. 

Therefore, in this study, batik education needs to be introduced to elementary school children, 

especially in regions with batik potential, such as Cirebon, to ensure continuity and preservation. 

One example of batik in Cirebon is Ciwaringin batik. The aim of this research is to analyze 

the symbolic meaning of Ciwaringin batik motifs in the context of the Pancasila Student Profile 

Project (P5) for elementary school students. Ciwaringin batik motifs have complex and bold styles 
14. Some examples of Ciwaringin batik motifs that have meaning in character education, based on 

research 15, include the "sekar jagad" motif, symbolizing diversity. An advantage of Ciwaringin 

batik is the use of Natural Dyes (ZPA), derived from natural sources such as roots, bark/wood 

skin, leaves, flowers, and fruit, as well as fruit skin waste16 . Therefore, besides introducing culture, 

Ciwaringin batik contributes to environmental preservation by using waste as natural dyes.  

 

Method 

This research employs a qualitative approach to gain a profound understanding of the 

symbolic meaning of Ciwaringin batik in the context of the Strengthening the Profile of Pancasila 

Student (P5) Project for Elementary School Students. The study utilizes a qualitative descriptive 

method as a research design that emphasizes the analysis of inductive thinking processes. Data is 

collected through observation, interviews, and document analysis related to Ciwaringin batik and 

the Strengthening the Profile of Pancasila Student (P5) Project. The approach used in this research 

is hermeneutics. Hermeneutics is a philosophical discipline that involves the study of interpreting 

meaning by examining, interpreting, or translating 17. 

 

 

 

 
11Nikita Hoirun Nisak, Olivia Ayu Wulandary, Nadya Agustina Putri, Ihda Amalia, Depi Ratnasari, & Widya Trio Pangestu. 

(2023). IMPLEMENTASI PROJEK PENGUTAN PROFIL PELAJAR PANCASILA BERMUATAN KEARIFAN LOKAL 
TERHADAP KETERAMPILAN SISWA KELAS IV SDN SOCAH 3. 

12 Pitri, “NILAI PENDIDIKAN KARAKTER DALAM MOTIF BATIK INCUNG.” 
13 Miranti et al. (2021) 
14 Susi Machdalena et al., “Motif Batik Ciwaringin Sebagai Identitas Budaya Lokal Cirebon,” Panggung 33, no. 1 (2023), 

https://doi.org/10.26742/panggung.v33i1.2476. 
15 Aditya Aditama, Putri Hk, and Desi Wulandari, “Analisis Makna Motif Batik Ciwaringin Cirebon,” Seminar Nasional Seni Dan 

Desain, no. September (2019). 
16 Tresnawati, N. (2018). Pembelajaran Sains Berbasis Kearifan Lokal dalam Upaya Peningkatan Konservasi Lingkungan pada 

Mahasiswa PGSD di Batik Tulis Ciwaringin Cirebon. Al Ibtida: Jurnal Pendidikan Guru MI, 5(1). 
https://doi.org/10.24235/al.ibtida.snj.v5i1.2603. 

17 Ashadi Ashadi, “METODE HERMENEUTIK DALAM PENELITIAN SINKRETISME BENTUK ARSITEKTUR,” 
2017, https://www.researchgate.net/publication/321307291. 



 
 

  
 
  

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Figure 1 Research design 

 

The research was conducted in the village of Ciwaringin, Cirebon Regency, West Java, 

involving a batik showroom from "Flora Boutique." The research instruments used by the 

researcher were interview instruments, observations, and literature reviews. Interviews were 

conducted with the owner of the batik showroom, Mr. Fathoni, to identify several typical batik 

motifs from Ciwaringin along with their symbolic meanings. Observations were carried out to 

determine the detailed forms of Ciwaringin batik motifs. Additionally, a literature review was 

conducted to explore the connection between symbolic meanings and the Pancasila Student Profile 

Strengthening Project (P5). 

The research was conducted for one month, from November 1st to November 30th, 2023, 

in the village of Ciwaringin, Cirebon Regency, West Java. Semi-structured interviews were carried 

Stage 3 

1. Analyzing data using a hermeneutic approach. 
2. Interpreting data to understand the symbolic meaning of Ciwaringin batik in 

the context of the Pancasila student profile strengthening project. 

Stage 2 

1. Collecting data. 
2. Gathering the units of analysis for batik 

ciwaringin and the project to strengthen 
the profile of Pancasila students. 

Stage 1 

1. Identifying issues within the context of character education. 
2. Identifying character education through local wisdom-based learning, 

specifically through batik to enhance character education. 
3. Reviewing literature related to Ciwaringin batik and character education. 
4. Establishing research objectives. 



 
 

  
 
  

Volume 9, Number 1,  May 2024| 54 

 

  

out, covering predetermined questions to be given to the interviewees to ensure their responses 

were in line with each other. The researcher employed strategies as an interviewer through 

procedures in the interactive and reflective data collection process. Subsequently, an observation 

was made regarding the Ciwaringin batik motifs by examining which motifs were related to the 

Strengthening Student Pancasila Profile (P5) Project guided by the interviewees. Finally, the 

activities were documented using a camera as evidence of the observation results, and a literature 

review was conducted to explore the symbolic meanings of batik in relation to the Strengthening 

Student Pancasila Profile (P5) Project. 

The data analysis was conducted using the Miles and Huberman model. Sugiyono 18 explains 

the Miles and Huberman model as follows: 

1. Data Reduction, The data reduction process involves summarizing, selecting key elements, 

focusing on significant aspects, and identifying patterns and themes. In this case, the 

researcher selected batik motifs and focused on batik motifs that could be associated with 

the Strengthening the Student Pancasila Profile Project (P5). 

2. Data Presentation, Data presentation involves organizing a collection of information that 

allows for drawing conclusions and facilitating further actions. In this case, the generated 

data is summarized in the form of a table. 

3. Drawing Conclusions or Verifying Data, Drawing conclusions is the final stage in the data 

analysis process. It involves interpreting the significance of the presented data. 

 

Research Results and Discussion 

Ciwaringin batik is one of the typical batiks of Cirebon. From field interviews with Mr. 
Fathoni, it was revealed that the origin of Ciwaringin batik can be traced back to Ki Madamin from 
the village of Babakan. He returned from studying batik in Laseman in the 18th century, and thus, 
Ciwaringin batik was born. Within the realm of Cirebon batik, thousands of Cirebon batik 
ornaments have been created, enriching hundreds of batik ornaments beyond the city of Cirebon. 
This is because artisans in the Cirebon region also produce various patterns and decorations of 
batik outside the Cirebon area 19. 

 
18 Lili Sururi Asipi, Utami Rosalina, and Dwi Nopiyadi, “The Analysis of Reading Habits Using Miles and Huberman Interactive 

Model to Empower Students’ Literacy at IPB Cirebon,” International Journal of Education and Humanities 2, no. 3 (2022), 
https://doi.org/10.58557/ijeh.v2i3.98. 

19 Komarudin Kudiya and Miranda Risang Ayu, “Data Identification of Cirebon Batik West Java Source of Strength 
Geographical Indication,” Kosmik Hukum 20, no. 2 (August 22, 2020): 104, https://doi.org/10.30595/kosmikhukum.v20i2.6954. 



 
 

  
 
  

Volume 9, Number 1,  May 2024| 55 

 

  

 
Figure 2 Interview activity 

 

In general, batik is a traditional Indonesian art involving the process of dyeing fabric using 

wax to resist color in specific areas of the cloth. Batik and patterned fabric are not the same, as 

patterned fabric refers to cloth with a specific design or pattern without necessarily involving 

special techniques like batik, even though the pattern on the fabric may resemble batik. Therefore, 

not all fabrics with batik patterns can be considered batik. Batik Ciwaringin has distinct 

characteristics compared to Trusmi batik, including the following: 

1. Avoidance of living creature shapes. The main pattern in creating Ciwaringin batik motifs 

is a series of leaves and flowers processed in a particular way. This is due to Ciwaringin's 

association with Islamic values, as it is known for its Islamic boarding school environment. 

Therefore, motifs resembling living creatures, such as birds, will have parts obscured using 

a series of leaves or flowers. Stylization efforts of flora (leaves and flowers) are undertaken 

to create desired fauna motifs, avoiding realistic visualizations. It can be concluded that 

the main pattern in creating Batik Ciwaringin motifs is a refined arrangement of leaves and 

flowers 20. 

2. Avoidance of empty spaces. Ciwaringin batik motifs strongly avoid empty spaces and tend 

to have full patterns, symbolizing gratitude for the fertility of nature and the happiness of 

life given by the Almighty in the creation of batik fabric. To fill these empty spaces, 

additional elements called "isen-isen" are added. Isen refers to additional forms of dots, 

lines, and combinations of dots and lines as embellishments to the basic batik shapes. Isen 

enriches and becomes a distinctive feature of each batik motif. Isen is often challenging to 

distinguish from the basic batik motif. The process of adding isen in batik is one of the 

factors contributing to the creation of self-affinity as a crucial fractal characteristic 21. 

 

 
20 Nanang Ganda Prawira et al., “Coastal Batik Ornament Design : Aesthetic Analysis and Meaning of Batik Ornaments in 

Ciwaringin Cirebon, West Java,” Interdisciplinary Journal of Asia Pasific Arts Journal Homepage LEKESAN: Interdiciplinary Journal of Asia 
Pasific Arts, vol. 3, 2020, http://jurnal.isi-dps.ac.id/index.php/lekesan. 

21 Agus Prijono and Ariesa Pandanwangi, “Application of Turtle Graphics to 
Kawung Batik in Indonesia,” 2020, www.ijicc.net. 



 
 

  
 
  

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3. Simplicity of form. Ciwaringin batik is an interior batik that has developed within the 

culture of Islamic boarding school communities, untouched by the traditions of coastal 

and palace batik. It is characterized by avoiding living creatures, using simple designs, and 

not carrying symbolic meanings as seen in palace batik Click or tap here to enter text.. 

This simplicity in form is a result of the batik-making technique using a "canting" to create 

motifs (nglereng), add decorations to fill empty areas (isen-isen), and cover fabric spaces 

(nembok). 

4. Use of natural dyes. Apart from its motif characteristics, another distinctive feature of 

Ciwaringin batik is the use of natural dyes. Natural dyes have advantages, such as being 

safe for health, environmentally friendly in the production process, not polluting the 

environment, and not requiring imports 22.The natural dyes used for coloring Ciwaringin 

batik come from waste materials. Examples include waste from mango tree bark, 

mangosteen peel, rambutan peel, mahogany wood bark, tegeran, and secang. The process 

involves boiling mango tree bark or rambutan peel for over 7 hours until the color appears, 

then filtering and placing it in a container. After that, the batik dyeing process is repeated 
23. 

Based on field research results and data analysis, five Ciwaringin batik motifs have been 

patented: pecutan motif, yusufan motif, tebu sekeret motif, gribigan motif, and pring sedapur 

motif. These motifs are associated with the Strengthening Profile of Pancasila Student (P5) project, 

as seen in Table 1-5. 

Table 1 Analysis of the pecutan batik motif 

Motif Symbol analysis Meaning 

 

 
Figure 3 Pecutan batik 

motif 

- Wavy lines as a 

symbol of 

acceleration. 

- Curved leaf 

patterns 

following the 

lines and 

ending like a 

whip. 

- Dots as fillers 

in the empty 

spaces in the 

acceleration 

motif as a 

The term "pecutan" has the 
meaning that in the past in 
Ciwaringin, a kyai or teacher used a 
whip for his students. This whip was 
given to students if they made a 
mistake. This was done to encourage 
students to be more diligent in their 
studies, work, and efforts, and of 
course, to become better individuals. 
As mentioned by 24, in his research, 
the purpose of giving a whip to 
students who break the rules is to 
instill a sense of fear in the students 
so that they can improve themselves 
in the future. 

 
22 Edi Eskak and Irfa’ina Rohana Salma, “KAJIAN PEMANFAATAN LIMBAH PERKEBUNAN UNTUK BAHAN 

PEWARNA ALAMI BATIK,” 2020. 
23 Desrizal, Iva Mas Uva, Eva Ariati, & Endah Fantini. (2023). Digital Marketing and Marketing Communication Strategy at 

Ciwaringin Cirebon Batik Umkm as a Challenge in Technological Development. Indonesian Journal of Contemporary Multidisciplinary 
Research, 2(6), 1055–1068. https://doi.org/10.55927/modern.v2i6.6475. 

24 Muzayyanah (2023) 



 
 

  
 
  

Volume 9, Number 1,  May 2024| 57 

 

  

symbol of 

balance in life. 

 

The connection of symbolic meaning in the pecutan motif of batik Ciwaringin to the 

Strengthening Project of the Pancasila Student Profile is as follows: 

1. Believing and fearing the one and only God and having noble morals: As its name 

suggests, the whip motif signifies the command to believe in and fear the Almighty 

God. In that era, the whip was used by Kyai Ciwaringin to admonish or remind his 

students to be obedient to the Almighty God and to have noble morals. 

2. Global diversity: The use of the whip in the past may reflect a strict approach to shaping 

character and discipline. In the context of global diversity, this can be interpreted as an 

effort to teach students about tolerance, respecting differences, and upholding unity in 

diversity. 

3. Cooperation: The concept of the whip used to admonish students who engage in 

misconduct can be interpreted as a collective action to create a good and peaceful 

environment. This reflects the spirit of cooperation in maintaining order and security 

together. 

4. Independence: The whip in Ciwaringin batik reflects wisdom in admonishing and 

educating. This can be linked to the value of independence, where each individual is 

expected to control themselves and take responsibility for their actions. 

5. Creativity: Through the experience of admonishment, students can learn to think 

creatively in solving problems and avoiding mistakes that may result in sanctions. This 

process can stimulate the development of creativity in understanding and solving 

problems. 

6. Critical reasoning: The whip can provide opportunities to stimulate critical thinking 

skills. Students can understand the consequences of their actions, evaluate decisions, 

avoid recklessness, and develop critical thinking to prevent errors in the future. 

 

 

 



 
 

  
 
  

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Table 2 Analysis of the yusufan batik motif 

Motif  Symbol analysis Meaning 

 

 
Figure 4 Yusufan batik 

motif 

- A cascade of 

jasmine 

flowers and 

trailing 

leaves 

symbolizes 

radiating 

beauty. 

- The 

prominent 

navel 

(protruding 

center) 

represents a 

symbol of 

central point 

or focus. 

- The cloves' 

pattern 

symbolizes 

prosperity. 

Based on its symbols, this 
motif symbolizes radiating beauty 
and also represents prosperity, 
making it the center of attention. 
The meaning of the Yusufan motif 
likens it to Prophet Yusuf, 
symbolizing nobility, 
handsomeness, greatness, and 
beauty. According to his story, as 
narrated in 25, when the wife of Al-
Aziz instructed Prophet Yusuf to 
appear before the women who were 
cutting fruit, upon Yusuf's 
appearance, they were astonished 
and amazed by his noble 
handsomeness and perfect beauty. 
This caused them to unconsciously 
injure their hands due to their 
admiration for Prophet Yusuf. 
They mistakenly thought they were 
cutting food and fruits that were in 
their hands. Therefore, it is 
expected that anyone wearing this 
batik motif will appear more 
charismatic.   

 

The connection of symbolic meaning in the yusufan motif of batik Ciwaringin to the Strengthening 

Project of the Pancasila Student Profile is as follows: 

1. Believing and fearing the one and only God and having noble morals:  The Yusufan 

Ciwaringin batik motif symbolizes strength, handsomeness, greatness, and beauty. This 

can be related to the values of belief and piety because Prophet Yusuf himself in the Islamic 

religious story is a figure obedient to God and possesses noble character. Wearing this 

batik can serve as a reminder to live a life with faith, piety, and noble character. 

2. Global diversity: The beautiful batik motif depicting beauty can be interpreted as a symbol 

of the diversity and meaningfulness inherent in each individual. In the context of global 

diversity, students are expected to appreciate and understand differences and be open-

minded towards cultural, linguistic, and religious diversity at a global level. 

3. Cooperation: The batik motif representing the handsomeness and greatness of Prophet 

Yusuf can be seen as an inspiration for collaborative efforts. Individuals are encouraged to 

 
25 Putra Ikhlas, Uin Imam, and Bonjol Padang, “The Role Model of Prophet Yusuf as a Youth According to Wahbah Al-

Zuhailî,” Takwil: Journal of Quran and Hadith Studies, vol. 1, 2022, https://ejournal.iainkerinci.ac.id/index.php/takwil/index. 



 
 

  
 
  

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feel motivated to contribute to activities that build and support each other, following the 

example set by the story of Prophet Yusuf. 

4. Independence: The Yusufan motif can also be interpreted as a symbol of independence, 

as in his story, Prophet Yusuf exhibited wisdom and skills that allowed him to be 

independent. The strengthening of the Pancasila student profile includes the value of 

independence, where each student is expected to have independence in thinking and 

acting. 

5. Creativity:  The batik motif reflecting beauty can stimulate creativity. In the context of the 

Strengthening Project of the Pancasila Student Profile, this batik can serve as a motivation 

to think creatively and generate new positive ideas to create beauty. 

6. Critical reasoning: The batik motif representing the greatness of Prophet Yusuf can be 

linked to the ability to think critically. Students are expected to have handsomeness in 

evaluating information, greatness in analysis, and beauty in finding wise solutions to 

various problems. 

Table 3 Analysis of the tebu sekeret batik motif 

Motif  Symbol analysis Meaning 

 

 
Figure 5 Tebu sekeret 

batik motif 

 

- Sugarcane 

stalks 

arranged 

diagonally as 

a symbol that 

since the 

Dutch era, 

Cirebon has 

been one of 

the sugar-

producing 

regions. 

- Floral 

patterns 

combined 

among the 

sugarcane as a 

blend of 

diverse 

natural 

elements. 

- Arrangement 

of leaves and 

Based on the analysis of 
symbols, this motif carries the 
meaning of the availability found in 
nature. In ancient times, the 
Ciwaringin community faced 
economic challenges, with many 
being less fortunate. Rice was rarely 
consumed in that community. In 
their surroundings, sugarcane was the 
predominant crop. The residents 
would chew on sugarcane stalks to 
sustain themselves due to the lack of 
alternative food sources 26. So, when 
it came time to break their fast or 
have a meal, sugarcane was what they 
consumed. The amount they 
consumed was not substantial, just a 
mouthful. Despite this, the 
community remained peaceful, 
harmonious, and grateful for what 
they had. Hence, the motif of a 
mouthful of sugarcane was created. 

 
26 Cory Vidiati et al., “Change Think Journal Tren Wisata Desa: Usaha Mengubah Wajah Desa Ciwaringin Menjadi Tujuan 

Wisata Unggulan Kabupaten Cirebon,” Change Think Journal |, vol. 26, 2022. 



 
 

  
 
  

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flowers as a 

combination 

with Yusufan 

motifs. 

 

The connection of symbolic meaning in the tebu sekeret motif of batik Ciwaringin to the 

Strengthening Project of the Pancasila Student Profile is as follows: 

1. Believing and fearing the one and only God and having noble morals:  Dependency on 

sugar cane as a food source in the Ciwaringin community can be linked to faith and piety. 

Facing economic limitations, they remain grateful and rely on God, appreciating every 

blessing bestowed upon them. 

2. Global diversity: This motif can also depict the diversity and variety of humanity. Despite 

the Ciwaringin community's resource limitations, they coexist harmoniously with their 

surroundings. Students are expected to draw inspiration from this diversity to foster 

tolerance and appreciation for differences in the global environment. 

3. Cooperation: In challenging conditions, the Ciwaringin community may have relied on 

mutual cooperation to overcome their limitations. This motif can teach students about 

the importance of working together and helping others, especially in times of difficulty. 

4. Independence: Despite facing limitations, the Ciwaringin community must be self-reliant 

in utilizing available resources. The Sugar Cane motif can illustrate the spirit of self-

reliance in facing difficult conditions. 

5. Creativity: Faced with resource shortages, the Ciwaringin community may have 

demonstrated creativity by using sugar cane as an alternative food source. This motif can 

inspire students to be creative in overcoming challenges and finding solutions amid 

limitations. 

6. Critical reasoning: Through the analysis of the Sugar Cane motif, students can be 

encouraged to think critically about the relationship between economic conditions, 

diversity, mutual cooperation, self-reliance, and creativity. They can develop critical 

thinking skills to relate these values to the global context and their own situations. 



 
 

  
 
  

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Table 4 Analysis of the gribigan batik motif 

Motif  Symbol analysis Meaning 

 

 
Figure 6 Gribigan 

batik motif 

 

- The lines 

arranged 

vertically and 

horizontally in 

a zigzag 

pattern, like a 

weave, serve as 

a symbol of 

lattice or the 

walls of 

ancient 

houses. 

Similar to the sugarcane cart that 
signifies that the Ciwaringin community 
is mostly less affluent, in the past, 
specifically in the 1950s, building houses 
for the community did not involve the 
use of bricks. They could only construct 
houses using bamboo or bilik (woven 
bamboo panels). As mentioned by 27 in 
their research, during that era, bamboo 
was utilized as a construction material 
for residential buildings. Therefore, 
gribig (woven bamboo) became one of 
the human creations playing a 
significant role in constructing the walls 
of houses.  
 

 

The connection of symbolic meaning in the gribigan motif of batik Ciwaringin to the Strengthening 

Project of the Pancasila Student Profile is as follows: 

1. Believing and fearing the one and only God and having noble morals: Gribigan as a motif 

in batik reflects the steadfast faith and piety of the Ciwaringin community in the One 

Almighty God. Despite potential material limitations, their lives are filled with spirituality 

and noble moral values. 

2. Global diversity: Gribigan, as a symbol of the Ciwaringin community's past way of life, 

mirrors the diverse patterns of living and economic conditions. In the context of global 

diversity, these limited resources teach the values of tolerance and appreciation for 

differences, as each individual must adapt to the existing situation. 

3. Cooperation: Gribigan or "bilik" as a form of Ciwaringin community homes reflects the 

spirit of mutual cooperation. In difficult conditions, they assist each other in building 

homes without walls. This aligns with the value of mutual cooperation in Pancasila, 

interpreted as cooperation and solidarity in building a shared life. 

4. Independence: Despite using gribigan or bilik, the Ciwaringin community demonstrates 

independence by constructing their own homes without relying on external assistance. 

This reflects the value of independence, an essential aspect of Pancasila. 

5. Creativity: The use of gribigan as a batik motif also reflects the creativity of the Ciwaringin 

community in creating solutions for their needs. This can serve as inspiration for students 

to develop their creativity in overcoming challenges and achieving goals. 

 

 
27 Hasbi Alamul Iman, & Syafi. (2023). ANALISIS IKONOGRAFIS MOTIF BATIK GRIBIGAN TEGAL: Studi pada Kelompok 

Usaha Bersama Sidomulyo Pasangan Talang Tegal Abstrak Sejarah Artikel. http://journal.unnes.ac.id/nju/index.php/imajinasi 
 



 
 

  
 
  

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6. Critical reasoning: Despite facing challenging conditions, the Ciwaringin community of 

that time needed to employ critical thinking to find the best solutions for building homes 

without walls. This reflects the value of critical thinking in Pancasila, teaching students to 

think critically and analytically. 

Table 5 Analysis of the pring sedapur batik motif 

Motif  Symbol analysis Meaning 

 

 
Figure 7 Pring sedapur batik 

motif 

- A mound of 

bamboo 

trees 

symbolizing 

the 

abundance 

of bamboo 

trees in the 

surrounding 

area. 

"Pring" means bamboo, and 

"sedapur" means many or 

abundant. At that time, around the 

residential area in Ciwaringin, 

there were many bamboo plants. 

This motif symbolizes unity, 

where the gathering of numerous 

bamboo, or sedapur, signifies 

strength when brought together.  

 

 

The connection of symbolic meaning in the pring sedapur motif of batik Ciwaringin to the 

Strengthening Project of the Pancasila Student Profile is as follows: 

1. Believing and fearing the one and only God and having noble morals: Analogous to 

bamboo with numerous joints reflecting the strength arising from unity. Similarly, faith 

and piety in God can be likened to the "sedapur joints" that unite individuals in faith 

and noble conduct. Together, they form a spiritual and moral strength. 

2. Global diversity: Bamboo with numerous joints can also be interpreted as a diverse 

society, as no two bamboo joints are exactly the same. In the context of global diversity, 

this motif signifies the richness and beauty that emerge when various cultures, 

languages, and backgrounds come together. This unity becomes a source of strength 

in facing global challenges. 

3. Cooperation: This motif aligns well with the value of collaboration. Bamboo with 

numerous joints indicates that the greatest strength arises when all elements join and 

work together. Collaboration, like united bamboo, generates strength. 

4. Independence: Although this motif is more focused on unity, the concept of numerous 

"sedapur" joints can also be interpreted as independent individuals who contribute to 

the whole. Each "sedapur" (individual) plays a crucial role in forming the strength of 

the group. 

5. Creativity: Creativity is evident in the process of creating the batik pattern of "pring 

sedapur," depicting the beauty and strength of the united bamboo joints. In a creative 

context, this reflects the ability to create something beautiful and useful through 

collaboration and unity. 

 



 
 

  
 
  

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6. Critical reasoning: Analogous to "pring sedapur," this analogy can also teach students 

to think critically. They can be encouraged to understand how to critically organize and 

combine ideas (bamboo joints) to achieve better results. 

 

Discussion 

 Batik Ciwaringin reveals the deep cultural and historical significance embedded in its 

patterns. Several points elucidate the broader implications and insights that can be drawn from the 

mentioned characteristics. Firstly, it is influenced by cultural and religious factors. Batik goes 

beyond being just a piece of fabric; it has the ability to reflect various aspects such as traditions, 

cultural backgrounds, beliefs, lifestyle systems, nature, tastes, and more 28. The dominance of plant 

motifs, especially leaves and flowers in Batik Ciwaringin, reflects the strong influence of Islamic 

values in the region. Research 29 suggests that Islam, being one of the world's largest and most 

influential religions, has deep connections with cultures worldwide throughout history. Islam 

serves not only as a religion but also as a crucial element in shaping cultural identity. In the 

Ciwaringin batik motif, the association of flora with fauna, such as birds, highlights the effort to 

enhance natural elements while adhering to religious principles. This unique approach 

distinguishes Batik Ciwaringin and emphasizes the integrity of cultural and religious elements 

expressed in its patterns. 

 Secondly, there is the symbolism of filled patterns. The avoidance of empty spaces in Batik 

Ciwaringin, symbolized by the dominance of filled motifs, carries profound meaning. The filled 

spaces in batik are known as "isen-isen." Isen or fillings can be lines, dots, or a combination of 

both, serving to fill the field in batik ornaments 30. According to 31, isen-isen is considered a 

complement to batik design, providing a different and unique impression. There are various types 

of isen-isen, including cecek-cecek, cecek sawut, rambutan, scales, and sirapan 32 

 Thirdly, the use of natural dyes is highlighted. The utilization of natural dyes derived from 

diverse waste materials such as mango bark and rambutan peel not only brings aesthetic uniqueness 

to Batik Ciwaringin but also reflects an environmentally friendly and sustainable artistic approach. 

The advantages of natural dyes lie in the variety and uniqueness of the colors they produce. The 

resulting colors are generally soft, providing a refreshing sensation to the eyes, and the color 

intensity feels soothing, creating a comfortable and secure feeling when worn due to their 

antioxidant content 33. The commitment to using natural dyes promotes environmental 

 
28 Elsa Nur Tiara and Syafii, “Eduarts: Jurnal Pendidikan Seni PROSES PRODUKSI, MOTIF DAN MAKNA SIMBOLIK 

‘BATIK BANGBANGAN BURUNG HONG’ DI SANGGAR BATIK KATURA TRUSMI CIREBON,” Eduarts, vol. 12, 2023, 
http://journal.unnes.ac.id/sju/index.php/eduart. 

29 Moh Teguh Prasetyo, “ISLAM DAN TRANSFORMASI BUDAYA LOKAL DI INDONESIA,” Jurnal Sejarah Peradaban 
Islam 02, no. 02 (2023): 12–30, https://doi.org/10.38073/batuthah.v2i2.1107. 

30 Resfi Norma Kuwala and Zulfia Novrita, “RAGAM HIAS MOTIF BATIK TANAH LIEK DHARMASRAYA (Studi Kasus 

Di Kerajinan Batik Tanah Liek Citra),” Gorga : Jurnal Seni Rupa 11 (2022). 
31 Camelia, S. W. (2023). TANAMAN BUNGA KENANGA SEBAGAI IDE DASAR PENCIPTAAN MOTIF BATIK. 

Sindoro Cendekia Pendidikan.  
32 Maulidiyah, F. A., & Nashikhah, M. (2023). Motif Batik Metamorfosa Dolly Dirumah Batik Putat Jaya Surabaya (Vol. 5). 
33 Nuraeni, S., Fortuna Wahab, D., Latif, N., Armidha Laboratorium Perlindungan dan Serangga Hutan, N., & Kehutanan 

Universitas Hasanuddin, F. (2020). EKSPLORASI PEWARNA DAN MOTIF ALAMI PADA KAIN SUTERA DARI 
VEGETASI HUTAN Exploration of Natural Colours and Motives from Forest Vegetation on Silk Fabric. Perennial, 16(1), 53–58. 
https://doi.org/10.24259/perennial.v16i2.11504 



 
 

  
 
  

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conservation and aligns with contemporary concerns about the impact of synthetic dyes. The use 

of synthetic dyes containing chemicals has negative effects on the environment, such as water and 

soil pollution from toxic and carcinogenic dyeing waste 34. 

 Fourthly, it involves patented batik motifs. Copyright laws have undergone several 

changes, indicating a genuine effort by the government to protect batik creations through 

copyright. According to Article 1 of Law Number 5, it is stated that Batik art is a term found in 

copyright law 35. The existence of patented motifs such as Pecutan, Yusufan, Tebu Sekeret, 

Gribigan, and Pring Sedapur provides insights into the historical and social context of Ciwaringin. 

According to research36, the patented batik motifs of Ciwaringin include Pecutan, Rajeg Wesi, 

Pring Sedapur, Yusufan, and Gribigan. 

 Fifthly, it relates to the educational values of character in batik motifs. Based on research 37 

analyzing the values of Jetis batik motifs as a reinforcement of character education, motifs such as 

beras utah strengthen the value of hard work, while kebun tebu reinforces environmental care, and 

so on. Batik Ciwaringin motifs can also serve as educational tools, conveying moral values and life 

lessons. For example, the Pecutan motif teaches discipline and resilience, Yusufan emphasizes 

beauty and charisma, Tebu Sekeret conveys gratitude and creativity, Gribigan depicts community 

cooperation, and Pring Sedapur symbolizes strength through unity. These motifs can be used in 

educational settings to instill values and develop critical thinking among students. 

 

Conclusion 

Batik Ciwaringin is not just a form of art but an expression of culture deeply rooted in the 

traditions and values of the Ciwaringin community. Avoidance of living beings, prioritization of 

full motifs, simplicity of form, and the use of natural dyes all contribute to the unique identity of 

Batik Ciwaringin. Patented motifs such as Pecutan, Yusufan, Tebu Sekeret, Gribigan, and Pring 

Sedapur narrate stories of faith, unity, resilience, and creativity within the Ciwaringin community. 

These characteristics not only make Batik Ciwaringin a distinctive form of batik but also serve as 

evidence of the richness and depth of Ciwaringin's cultural heritage. Furthermore, these motifs 

hold valuable lessons, imparting character education that includes faith and piety in one Almighty 

God, noble morality, global diversity, mutual cooperation, self-reliance, creativity, and critical 

thinking. The points in character education embody principles that can be applied in broader life 

and society. 

 

 

 
 
34 A Chafidz and A.Y.D. Lestari, “Pengenalan Teknologi Ekstraksi Zat Warna Alam Untuk Pewarna Batik Di UKM Batik Tulis 

‘Kebon Indah’, Bayat, Klaten,” Pengabdian Kepada Masyarakat, 2021. 
35 Rahmi Ayunda and Bayang Maneshakerti, “PERLINDUNGAN HUKUM ATAS MOTIF TRADISIONAL BAIK BATAM 

SEBAGAI KEKAYAAN INTELEKTUAL,” Jurnal Pendidikan Kewarganegaraan Undiksha, vol. 9, 2021, 
https://ejournal.undiksha.ac.id/index.php/JJPP. 

36 Loly Arni and Fajar Ciptandi, “Pengembangan Produk Umkm Batik Tulis Pewarna Alami Ciwaringin Cirebon Dengan 
Penggabungan Teknik Tritik,” 2021. 

37 Yullia Susilaningtyas, Agus Suprijono, and M Jacky, “MAKNA SIMBOLIK DAN NILAI-NILAI MOTIF PADA MOTIF 

BATIK JETIS : KAJIAN ETNOPEDAGOGIK BUDAYA LOKAL UNTUK PENGUATAN PENDIDIKAN KARAKTER 
BANGSA SISWA KELAS IV SD,” 2020. 



 
 

  
 
  

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