177 The Existence of Aesthetic Transformation in Traditional Batik Colors Based on the Review of Memetics Theory (Case Study: Traditional Batik in Tuban, East Java, Indonesia) Fajar Ciptandi, Arini Arumsari Universitas Telkom, Indonesia Submitted: 2023-03-14. Revised: 2024-01-19. Accepted: 2024-05-13 Abstract This article discusses the existence of aesthetics in traditional batik colors in Tuban, East Java, Indonesia, which is reflected in the appreciation of the deep values in the activity of making cloth. Batik colors have been one of the foundations for producing traditional identity values belong- ing to the Tuban community and have been preserved for generations. However, the existence of this aesthetic is gradually experiencing degradation due to some disruptions, such as modernity, trends, and technology, which has led to transformation. The purpose of the study is to interpret the relationship between the weakening of the existence of aesthetics in traditional Tuban ba- tik colors and the daily behavior patterns of people in current conditions. The research method was conducted using a phenomenological approach, and it is reviewed based on the principle of memetics theory to find out the factors that cause this phenomenon. It is essential to produce a conclusion to enrich fundamental knowledge in understanding the causes of transformation in the aesthetic existence of a tradition so that it becomes the basis for consideration in taking trans- formative action to preserve the tradition. Keywords: transformation; aesthetic existence; color; memetics; batik How to Cite: Ciptandi, F., & Arumsari, A. (2024). The Existence of Aesthetic Transformation in Traditional Batik Colors Based on the Review of Memetics Theory (Case Study: Traditional Batik in Tuban, East Java, Indonesia). Harmonia: Journal of Arts Research and Education, 24(1), 177-191 Harmonia: Journal of Arts Research and Education 24 (1) (2024), 177-191 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: http://dx.doi.org/10.15294/harmonia.v24i1.43243 symbolic motifs and the persistence of the process carried out by craftsmen for cen- turies (Sachari, et al., 2020). The aesthetics of Tuban batik, like other batiks in Indo- nesia, also refers to an object that is able to produce and distribute its inherent values in the form of tangible and intangible ex- pressions and is recognized as something “good” and “beautiful” (Yulianto et al., 2020). The existence of this aesthetics can be seen among batik craftsmen through their batik-making activities, resulting in beautiful and highly valued pieces of fabric and creating a contemplative atmosphere INTRODUCTION Batik, for most traditional commu- nities in Indonesia, is believed to embo- dy aesthetic values that can be perceived not only in its physical function but also in the philosophical meanings represented through symbols in the form of motifs and colors (Widagdo, 2021; Maulina et al., 2021; Yulianto et al., 2020), and in cont- rast to most contemporary batik designs, which prioritize visual appearance, tra- ditional batik patterns also depict a con- templative activity interpreted through Corresponding author: E-mail: fajarciptandi@telkomuniversity.ac.id p-ISSN 2541-1683|e-ISSN 2541-2426 Harmonia: Journal of Arts Research and Education 24 (1) (2024): 177-191178 influenced by tradition, history, and spiri- tual values believed during the production process (Kusumawati et al., 2017). The aesthetic existence of tradition is a significant driving force. In the batik- making process, for instance, the tradition will have good resilience when the prac- titioners work diligently by utilizing their skills and knowledge and contemplating their ideas, beliefs, and hopes (Meranti & Soeteja, 2021; Puryanti et al., 2019). Howe- ver, preservation should not only be inter- preted as protective measures to maintain and reproduce the tradition in its original form but also the ability to adapt to vario- us external interventions that transform the tradition into a new face and identity (Kari et al., 2018; Kim, 2013). This is a form of understanding the concept of tradition itself, which is not static but continually undergoes adjustments through fusion, addition, or withdrawal of its identity as an effort to maintain itself (Ariffin et al., 2023; Putra, 2020; Raden et al., 2020). It is essential to explain the study of a traditional object transformation today by looking at its relevance to the context of change and innovation. Research rela- ted to innovation in objects in the form of traditional products generally addresses the design appearance issue, which can develop into a design style that better rep- resents modernity. According to Nugraha (2011), a transformation tradition concept, ‘ATUMICS,’ focuses on combining design elements that represent tradition and mo- dernity to make a traditional object consi- dered new. The elements contained in this concept include the micro level and macro level. At the macro level, elements include technique, utility, material, icon, concept, and shape. Meanwhile, there are motivational components at the macro level, including economic, social, ecological, survival, and self-expression. According to Leong & Clark (2013) and Lin (2016), these elements at the micro level are the ‘outer layer,’ re- ferring to all tangible things from culture or tradition, while at the macro level, they are the ‘mid-layer,’ referring to behaviors or habits of the society. The ATUMICS concept has not yet touched on issues rela- ted to the ‘inner layer’ related to matters of philosophical meaning and value. Other research regarding the trans- formation of craft products, as carried out by Tung (2021) and Chen et al. (2022), also explains that transformation to produce novelty in traditional objects needs explo- ring the knowledge and skills of designers to collaborate with local craftsmen through practical use of local raw material, functio- nal items inspired by traditional use, as well as form aesthetic decoration. Then, the target for absorbing these products is the contemporary market. In this research, there is a gap at the fundamental level of tradition, where, according to Sun et al. (2022), there are the essential elements that form traditions, namely ‘Tradition Teach- ing,’ which is the ‘mid-layer’ characteristic of tradition and culture. According to Hill (2004), this traditional teaching is the dri- ving force behind a tradition’s continued existence from the past to today through a natural learning process. Apart from that, there is also ‘Nonmaterial Culture’ according to McDonnell (2023) which is the ‘inner layer’ characteristic of tradition and culture that should be considered in intentionally developing and transforming traditions. If designers, in this case, do not have a deep understanding of this matter, it will impact the loss of the traditional roots in the products being developed. Especially in the issue of traditional batik tradition, this idea of transformation arises from the way of seeing that traditio- nal artifacts are a solution to finding ways to survive and improve the quality of life (Norman, 2004). Therefore, changes in a traditional artifacts are constantly happe- ning, in line with the challenges of life that continue to increase. Humans naturally do this to meet their most basic needs of fee- ling safe and happy (Nugraha, 2011; Nunn, 2022). The process begins with culture and conducting a ‘cultural dialogue’ between the original culture and the donor culture until various forms of ‘mixed’ culture are born over a long period until the final cul- Fajar Ciptandi et al., The Existence of Aesthetic Transformation in Traditional Batik Colors 179 ture format is established (Lazzeretti et al., 2021; Roibin et al., 2021). This condition is a concrete example in traditional Tuban batik artifacts. Since ancient times, Tuban has been a port of ancient trade between the “West” and “East” regions. From the- re, Tuban has experienced many foreign cultures outside its local culture, manife- sted in its batik aesthetics (Ciptandi, 2021; Sedyawati, 1992). The original culture of Tuban Batik, which experienced cultural dialogue with foreign cultures, resulting in a form of ba- tik representation today, is something im- portant to study. This original culture, of course, also exists in layers starting from outer, mid, and inner, each of which gives strength to the characteristics of batik itself. However, this has been widely discussed, especially at the outer and mid-levels, as in research in other areas of traditional trans- formation. So, it is also necessary to look in depth at the elements that form traditions at the inner layer level in order to be able to truly reveal what philosophical motiva- tions are so strong in encouraging the rise of people’s awareness and behavior in cre- ating a final product/artifact. In traditional Tuban batik, one of the embodiments of its aesthetics is found in the colors of the batik fabric itself, which has always been a significant part of the tradition and even serves as the basis for reproducing traditional identity values held by the Tuban community today. However, external interventions have in- fluenced and transformed the understan- ding and appreciation of Tuban’s aesthetic existence in the form of activities and iden- tity values. Therefore, it is necessary to address the intervention factors that have caused these changes using established cultural theories to produce findings in the form of an interpretation of the factors causing the weakening of the existence of aesthetics in traditional Tuban batik colors and the daily behavior patterns of people in current conditions. Then, it can enrich basic knowledge to produce a conclusion to enrich fundamental knowledge in un- derstanding the causes of transformation in the aesthetic existence of a tradition so that it becomes the basis for consideration in taking transformative action to preserve the tradition. METHOD The research was conducted using a phenomenological approach with the aim of obtaining a substantive understanding related to the experiences of a group of humans, where the researcher analyzes to describe a phenomenon as it is without manipulating the data within it (Williams, 2021) while paying attention to the follo- wing aspects: (1) referring to reality, by setting aside personal understanding and references related to the subject being stu- died to produce objective knowledge and truth; (2) considering the object of study as something whole and inseparable from other objects (holistic), in order to obtain a complete understanding of an object; and (3) observing and paying attention to every detail of an event as important information (Gallifa, 2018; Rangarajan et al., 2022). The data collection through several processes, including: Literature study from scientific jour- nals, articles, main reference books belon- ging to Ren Heringa and Judi Knight Acj- hadi, as well as visual materials in the form of cloth photos, and observations. Interviews were conducted to obtain detailed information about the phenome- non being studied and to discover somet- hing that has not been seen. In this inter- view process, questions were asked about the knowledge and real conditions percei- ved by the community and traditional ba- tik craftsmen in Tuban regarding the aest- hetics of traditional batik colors. Observation was carried out to ob- serve various data and phenomena that occurred at the location, namely the center of batik production in Tuban, precisely in the Kerek District, which is spread across four hamlets, namely Kedungrejo, Margo- rejo, Gaji, and Karanglo. In addition, ob- servations were also made in the form of observing interaction patterns that occur Harmonia: Journal of Arts Research and Education 24 (1) (2024): 177-191180 among the craftsmen in the process of ma- king and using batik. Oral tradition was used to obtain evidence in the form of testimony from traditional practitioners that contained information from the history of previous generations that is difficult to find in writ- ten sources. This process was conducted with several parties, including 1) Uswatun Hasanah and Sri Lestari, who are third- generation traditional batik makers in Tu- ban and also entrepreneurs, 2) Rukayah, a community figure who is also one of the main informants in Heringa’s 1994 rese- arch. The data was then analyzed using data explication techniques (Volodin, 2020) in the following steps: Understan- ding the data obtained by creating a tran- script (notes of all verbal and nonverbal communication) and summarizing it wit- hout preconceptions about the entire data; Compiling Individual Phenomenology Descriptions based on interview and oral tradition results by first cleaning the data from irrelevant statements and grouping and rearranging meanings into a series; Performing explication on the obtained data by verbalizing the expressions given by the research subjects by going back, in- cluding implied expressions to make them easy to understand. This expression is ar- ranged in sequence, from past experiences to current life, influencing the appreciation of tradition; Linking data and phenomena found to relevant theories, namely: a. The Three Layers Theory and the Cultural Ob- ject and Design Characteristics Level (CL Lin et al., 2016; R. Lin, 2018) to explain the overall description of traditional fabric tra- dition in Tuban, and b. Meme theory ex- plains the relationship between memes in humans as replicators that drive humans to the process of imitation so that traditions continue to be repeated from generation to generation, with external interventions/ interferences causing mutations/changes in the process of imitating these traditions. RESULT AND DISCUSSION Tuban Traditional Batik Making traditional Tuban batik fab- ric involves a process from upstream to downstream. It starts with the traditional spinning of the thread, followed by wea- ving the thread into the fabric using a traditional weaving tool called gedhogan. Then, the woven fabric is decorated with motifs using the traditional batik techni- que and dyed with natural dyes (Achjadi & Natanegara, 2010). Traditionally, Tuban batik serves several functions within the community, which are as follows: Visual function: Tu- ban batik serves as a differentiator from ot- her batik fabrics. The visual characteristics include rough and irregular lines with uni- que colors obtained from natural dyes, gi- ving an antique and old-fashioned impres- sion. Most of the batik motifs in Tuban are inspired by the surrounding environment, such as the Srigunting bird and Ganggeng plant. Additionally, some motifs are deri- ved from foreign cultures, such as Lokchan, a mythological bird commonly found in Chinese ornaments brought to Indonesia (Ciptandi, 2021). Physical function: Tuban batik serves as both a jarit and sayut. Jarit is a rectan- gular cloth with a width of 90 cm and a length of up to 250 cm wrapped around a woman’s body up to the chest and ankles. Sayut is a cloth with a width of around 60 cm and a length of up to 300 cm, wrapped around the shoulders and waist to help carry daily necessities, especially when going to the fields (Achjadi & Natanegara, 2010; Heringa, 2010). Philosophical function: Tuban ba- tik is used specifically for sacred spiritual events, such as weddings, births, deaths, and other significant ceremonies. Batik fabric also serves as a social status indica- tor for a particular group of people based on the patterns and colors used (Heringa, 2010). Bartering function: Using the barter system, Tuban batik also serves as a valu- able trading commodity for daily necessi- ties. This demonstrates that Tuban batik gedhog is considered valuable and of high Fajar Ciptandi et al., The Existence of Aesthetic Transformation in Traditional Batik Colors 181 worth within the Tuban community. Mo- reover, some craftsmen still use batik fab- ric as a trading tool or pawn it to obtain some money (Suryanto et al., 2022). Therefore, four fundamental factors shape the tradition of making traditional Tuban batik: Artifacts, Nonmaterial Cul- ture, Traditional Ecology, and Tradition Teaching. First, traditional artifacts are one of the essential elements that form the uniqueness of the Tuban tradition and are the physical manifestation of the tradition that developed in the community. Accor- ding to Ciptandi et al. (2022) and Nugraha (2011), the primary aspects that can be ob- served in traditional artifacts are 1) Form (shape, function, dimension); 2) Aesthetics (color and ornamentation); 3) Material (all obtained from nature); and 4) Technique (how to process materials properly using only hands or with the help of tools). Se- cond, nonmaterial culture consists of phi- losophical values in the form of beliefs, ideas, behavior, and assumptions that app- ly communally. Third, traditional ecology refers to the environment in which a group of people live and interact with the ele- ments of their ecology (including air, soil, sunlight, animals, and plants). This inter- action occurs naturally, where communi- ties and the environment make reciprocal efforts to care for each other. According to Farkas (2022), Fang & Li (2022), and Kaur (2011), traditional ecology can stimulate local knowledge and wisdom (customs, et- hics, norms, and worldviews) to develop within it. Fourth, traditional teaching is the way of passing on habits, knowledge, and skills from one person to another natural- ly, where the environment conditions the individual to observe and interact with a traditional activity and eventually master the habits, knowledge, and skills. The form of the traditional batik tra- dition of Tuban is mapped based on the theory of Three Layers and Levels of Cul- tural Objects and Design Features (Lin et al., 2016; R. Lin, 2018), as shown in Figure 1 below: Figure 1. Mapping of the Uncertainty of Tuban Batik Tradition based on the Theory of Three Layers and Levels of Cultural Objects and Design Features. The Existence of Aesthetic in the Colors of Batik Tuban and Its Transformation The existence of aesthetics, according to Nimita & Yundari (2017) and Sachari et al. (2020), is referred to as the appreciation of aesthetics, defined as a contemplative activity that someone experiences when creating and producing, which is actually an expression of their beliefs and percep- tions about their existence in relation to nature and human beings. This places full human consciousness as part of the macro- cosm and microcosm, which maintains its balance as a peak of true aesthetics (Pitana, 2023). According to Harmaen (2016), aest- hetic existence does not only appear in the form of individual expressions of beauty, but can also be collective because each in- dividual is influenced by values between human beings and the environment outsi- de of themselves so that what is expressed can complement and sustain the interde- pendence of the individual within a comp- lex environment. The definition of aesthe- tic existence is also found in the term born of the local wisdom of the balinese com- munity in Indonesia, namely Taksu, which is a manifestation of pure cultural creativi- ty in an artistic activity that gives spiritual power to the artist to express themselves to become better than their current self (Nilo- tama, 2006). To embody taksu or this aest- hetic existence, hard work, dedication, and surrender are necessary so that it can also be reflected in a work that has its own soul and vitality (Sunarya, 2021). The relationship of this aesthetic Harmonia: Journal of Arts Research and Education 24 (1) (2024): 177-191182 existence with the Tuban community is manifested in a deep appreciation for the batik tradition, where every process is de- tailed with a collective attitude towards their beliefs and perceptions related to the concept of cosmology, concern for nature, and earnestness in their work. By linking this with the color elements in traditional Tuban batik, we can find the application of aesthetic concepts in the areas of cosmolo- gy, nature, and the skills involved, which are highly meaningful and appreciated as seen in Figure 2. Figure 2. Background colors in Tuban’s dis- tinctive batik and their philosophical mean- ings The existence of aesthetics is related to the belief in the concept of the cosmolo- gical cycle of life applied to the colors on the background of batik, which represent the directions of the compass and symboli- ze the cycle of human life (Heringa, 2010). This concept is not exclusive to Tuban, but is also found among traditional commu- nities in Indonesia. The concept refers to the unity of the layout of a village that has been determined as the center, surrounded by four other villages positioned in accor- dance with the directions of the compass. This is known as Mancapat, which is an ar- rangement of a village center surrounded by other villages to the north, west, east, and south (Ridjal et al., 2020; Meylinda et al., 2018). The market becomes a central point of various activities and meetings, surrounded by villages that are spread out in accordance with the four directions of the compass (Aliyah, 2016; Maulidi & Ruk- mi, 2019). The white background of batik is cal- led putihan, representing the eastern direc- tion of the compass, where the Sun rises as a symbol of birth and childhood. Putihan fabric is used to wrap newborn babies. The red background of batik is called bangrod, representing the southern direction of the compass, symbolizing an important pro- cess in a woman’s life, namely the onset of menstruation. The blue background of batik is called biron, and the brownish- purple background is called pipitan, repre- senting the western direction of the com- pass, symbolizing a woman’s transition to becoming a wife and mother. Finally, the black background of batik is called irengan, representing the northern direction of the compass, symbolizing the end of human life, namely death, and is used during fu- nerals. The process of making irengan batik involves dipping it in mud during the final dyeing process, as an analogy of “plan- ting” the human body back into the earth (Heringa, 2010). The manifestation of aesthetic exis- tence is related to the awareness of preser- ving nature, as seen in the traditional ba- tik colors made using natural dyes. These natural color sources are obtained from plants found in the surrounding environ- ment of the community, such as leaves, fruits, flowers, stems, and roots. The resul- ting distinctive colors include white, red, blue, brownish-purple, and black, which aesthetically have become a visual featu- re of the fabric. The use of natural dyes, according to Basri (2023); Karadag (2021); Widyawati (2018) is like most local wis- dom in other regions, a form of existence based on knowledge of the potential of the surrounding nature, as well as an aware- ness and responsibility as part of nature. Incorporating nature into the fabric they use daily is a way for humans to preserve nature itself. Meanwhile, the manifestation of ae- sthetic in the technical process of batik dy- eing can also be seen in the form of high Fajar Ciptandi et al., The Existence of Aesthetic Transformation in Traditional Batik Colors 183 expertise that reflects the skill of carrying out the practice of dyeing with full dili- gence, patience, and wholeheartedness, relying solely on the strength and skill of the hand. All relationships between colors in batik and the manifestation of aesthetic existence is evident by referring to the the- ory of cultural levels, as shown in Figure 3 below: Figure 3. The manifestation of aesthetic exis- tence of colors in Tuban Batik. The transformation of the aesthetic existence of colors in Tuban Batik occurs in the form of changes in contemporary ac- tivities managed by craftsmen during the fabric dyeing process. The activity of dy- eing, which was previously richly imbued with collective beliefs about the philoso- phies of life and their perception of the re- lationship between their existence and na- ture and between humans, as well as their seriousness in working, is now replaced according to the context of something that influences it. However, according to Suba- wa & Widhiasthini (2020), in the cultural context amidst the disruptive era, transfor- mation is an inevitable factor that not only needs to be faced but must be faced. This is because humans actually have needs and desires that are constantly changing with diverse and uncertain environmen- tal conditions. Specifically, in the context of the existence of the aesthetic of tradi- tional Tuban batik colors, which is one of the elements forming the strong identity of local traditions, it has undergone transfor- mation caused by various interventions, as follows:Top of FormBottom of Form The Form of Fabric Colors ( Artifacts ) Traditional Tuban batik colors are still made by some craftsmen today, but they are not entirely consumed by the awareness of harmonizing with nature by using inspiration and natural materials as a form of human responsibility to live in harmony with nature. Traditional colors such as putihan, biron, bangrod, and iren- gan that are still maintained have changed using synthetic dyes to achieve a visual appearance. This has happened because of the condition of craftsmen and market cha- racteristics that do not understand the ae- sthetics of Tuban batik and prioritize prac- ticality, time efficiency, and cheap cost. Other factors also come from programs rolled out by local governments, univer- sities, and industries in the form of trai- ning presentations that introduce various alternative synthetic coloring techniques, gradually moving away from traditional methods. This then affects the aesthetics of the existence of Tuban batik color artifacts, which previously upheld craftsmanship and nobility, now for the sake of practicali- ty and economy. The Non-Cultural Material of Fabric Col- or The cultural material in the form of philosophy in the traditional fabric of Tu- ban has been present since the pre-Islamic period (Hindu-Javanese) or even earlier. At that time, traditional fabrics also func- tioned as a medium for performing ritual practices, such as offerings to the earth, warding off disasters, weddings, births, and deaths. The aesthetic existence of co- lors in Tuban batik is manifested in its use, which is connected to a talisman’s efficacy that can provide its users with goodness. Later, after Islam’s introduction, aesthetics in the colors of batik changed as the ani- mistic and dynamistic ritual practices were Harmonia: Journal of Arts Research and Education 24 (1) (2024): 177-191184 abandoned and replaced by ritual practi- ces that contained prayers and worship to Allah. However, in today’s conditions, the people of Tuban are becoming more lo- gical, realizing that batik colors are just a common material object and do not need to be interpreted philosophically, so its use is sufficient as a form of clothing identity. Traditional Ecology in Fabric Color The environment in Tuban was ori- ginally dominated by agriculture, and there were sideline jobs such as making textiles for spinners, weavers, and batik craftsmen. However, today, there are also alternative jobs as factory workers, which were triggered by the establishment of the Indonesian Cement Factory, which covers an area of 1,500 hectares and has a facto- ry building area of 400,000 square meters, located around 7 km from the batik center in Tuban. The establishment of this cement factory has also improved infrastructure development in Tuban, opening up a free flow of information, trends, and techno- logy. The establishment of the factory has also caused the loss of most cotton and ot- her plantations. The factory has become the main intervention factor that changes the order of human interaction with nature and also impacts changes in the pattern of natural support as inspiration and supplier of raw materials to maintain the traditional textile culture. Another intervening factor in the ecological context is the community’s ho- mogeneity, which has changed due to many immigrants coming and settling in Tuban, thus influencing their perspectives on life, social interaction patterns, skills, motivation, and aspirations. In the context of the meaning of batik fabric colors for the people of Tuban, this has caused a shift in the existence of all actors within the syste- mic relationship in the supply chain orga- nization, from upstream to downstream. Previously, this relationship was driven not only by economic motivation but also by traditional and ecological harmony, but today, the relationship is purely transac- tional for economic motives. Knowledge and Teaching of Traditional Fabric Dyeing Knowledge of traditional fabric dy- eing is important to maintain the aesthetic value of the tradition and pass it on to the next generation. However, today, know- ledge of this practice among young people in Tuban has degraded due to factors such as changing teaching methods. Previously, it was taught through traditional methods such as observing and learning directly from parents while they were dyeing batik, listening to stories from past generations, and practicing under their direct guidan- ce to preserve traditional aesthetics. But now, teaching has shifted towards formal institutions such as schools, courses, and training, which often prohibit various new techniques and materials in fabric dyeing. The traditional teaching method is consi- dered more effective. The Memetics Theory of Culture The means regarding memetics theory is actually based on an analogy with Darwin’s evolution popularized by Richard Dawkins in 1976 with the term The Selfish Gene. The idea of this scientific evolution today has led to questions rela- ted to posthumanism. In cultural studies, memetics is a means to explain how to un- derstand the replication of ideas and norms in cultural evolution (Haw, 2021; Wijayan- to & Soekarba, 2019). The meme analogy arose due to the discovery of the nature of DNA genes in living creatures that can be inherited and passed down from generati- on to generation. Uniquely in humans, it is found that there is another replicator besi- des genes that is also inherited, namely the replicator called memes (Dawkins, 1976). So, in terms of terminology, memes can also be associated as an analogy to genes at the cultural level (Harms, 1996). The term “selfish” here refers to the fact that this meme replicator only acts for itself, and its sole interest is to replica- te itself for the next generation. This can take the form of knowledge, vocabulary, legends, behavior, games, songs, or rules Fajar Ciptandi et al., The Existence of Aesthetic Transformation in Traditional Batik Colors 185 and can be transferred, communicated, duplicated, and inherited (Blackmore, 1999). Quoting Dawkins (1976), memes are easily spread because humans have a tendency to imitate others. Memes can be an essential part of the evolution of the human species because humans have sur- vived not because of the shape of our bo- dies but because memes enable the human species to manipulate the environment by creating tools for life. Referring to Wijayanto (2013) and Harms (1996), the workings of memes can be compared to the workings of genes, na- mely: The existence of genes explains evolutionary changes that occur at the bio- logical level, while the existence of memes explains evolutionary changes that occur within culture. Genes replicate themselves through the process of reproduction, while memes replicate themselves by “jumping” from brain to brain through the process of lear- ning or agreement. Genes continue to duplicate themsel- ves to maintain their non-replication, whi- le memes work on the same principle but at the level of ideas and values. Genes duplicate using cell enzymes, while memes duplicate through imitation. Genes compete with each other in sexual reproduction to vie for a chromo- some, and memes do the same with other memes to vie for human attention. If the selection fails, it will face extinction. Memes require social life to imitate and grow within the cultural sphere. The workings of memes, as shown in Figure 4, occur in the brain, which is the center for processing information in the form of thinking, remembering, and deciding on something. Memes work by responding to and processing all kinds of cultural information that enters the brain (whether in the form of information heard, seen, touched, smelled, tasted, or other types of experiences that have been expe- rienced), which then produces a decision translated by the body into repetitive ac- tions, such as movements, verbal (sound), language, and emotions (Baucal & Lazić, 2022). According to (Wijayanto & Soekar- ba, 2019), memes can become winners in- fluenced by the main factor, which is the information that enters the brain being doctrinal and cannot be debated. Mutation Brain A The consideration process involves memory, experience, and knowledge to make a decision The brain receives cultural information Meme Decision Imitation B Decision Brain Meme Transmitted Imitation C Meme Mutation Memeplex D Figure 4. Illustration of How Memes Work Notes : A: Meme in Social Environment #1 B: Meme in social environment #2, which is experienced by mutation meme decision C: Meme in social environment #3, which is experienced by imitation meme decision D: Meme B and C merged through accultura- tion, resulting in a memeplex. Dawkins added that not all memes can be inherited and replicated as they ori- ginally were. The term is akin to DNA ge- nes that are also passed down from gene- ration to generation, but it is unlikely that the same DNA would persist in each gene- ration. Cultural imitation does not always proceed perfectly, and often, there are mutations due to external interventions, resulting in differences in behaviors and habits that have evolved since the classi- cal era (Dawkins, 1976). However, besides mutations (Blackmore, 1999), there is also the concept of memeplexes, where various memes work together to form a unity that is caused by acculturation. In this case, a memeplex is a group of memes that come together to form mutual benefits. Harmonia: Journal of Arts Research and Education 24 (1) (2024): 177-191186 Memetics Cultural Theory Review on the Aesthetic Existence of Batik Colors The true replicator meme is consi- dered important in explaining the pheno- menon of transformation in the aesthetic existence of color factors in batik, which is one of the elements that has produced the traditional identity of the Tuban com- munity. This is based on the explanation by Wijayanto & Soekarba (2019) that at the psychological level of memes, they can contribute to the formation of group beha- vior in society. In addition, there are also similarities in patterns and characteristics between memes and culture, both of which have inheritance systems at the level of va- lues, beliefs, behaviors, and knowledge. The tradition of fabric in Tuban, in the form of color expression, can maintain its aesthetic existence if viewed based on memetic theory, caused by memes at the idea level related to all knowledge and skills about those colors that easily spread among the community due to their trend to imitate ideas, thoughts, or conversations of others. Dawkins (1976) states this is the first step in the learning process. Thus, in the characteristics of memes, they have the ability to replicate themselves by “jum- ping” from one brain to another, and this process has been going on for generations in the inheritance of traditions from one generation to another. On the other hand, the conditions that cause a transformation in the existen- ce of color aesthetics in Tuban batik are due to the failure to meet the requirements for memes to continue their survival, in- cluding: The presence of interventions in the form of domination of new cultural infor- mation that is more attention-grabbing. This is evident in the change in market characteristics, which makes it difficult to understand the aesthetics of Tuban ba- tik, which is low quality, low prices, and fast processes. Craftsmen feel this is more enjoyable and profitable, thus changing their motivation to be solely for economic reasons. Another example is the presence of new postmodern cultural information that ridicules all traditional beliefs and concepts of Tuban society, which pre- viously still considered the fabric and its colors to have a relationship with ritual activities. In this condition, the meme has actually succeeded in infecting someone’s mind so that the expression displayed is a manifestation of mutation/change at the level of ideas in society. The widening tolerance towards changes within the tradition, especially in the context of ecology, is shown by loo- sening the relationship between humans and the concept of natural harmony by allowing the influence of the Indonesian Cement Factory industry in Tuban. The relationship between humans and the en- vironment becomes a negotiable factor as long as there is a mutual benefit conside- red equal for improving the community’s well-being. Today, the factory is increa- singly dominated, and its negative im- pacts have been felt by the traditional cloth craftsmen in Tuban in their efforts to pre- serve the tradition. According to the res- toration of memetic theory by Wijayanto & Soekarba (2019), this is caused by the traditional ecological meme of the country competing with the donor meme to grab human attention. The final decision shows that the donor meme has won the attenti- on, leading to the weakening of the aesthe- tic existence in terms of preserving the en- vironment as part of the effort to maintain tradition. This is also supported by the fai- lure to fulfill the conditions for the meme to win, namely the absence of information that cannot be debated in the form of rules or policies related to the preservation of the environment and tradition, both cultu- rally and officially. The occurrence of acculturation is apparent in the openness to accepting new elements or complements in the activity of dyeing colors of Tuban batik origina- ting from donor cultures outside Tuban. According to Alam (2023), cultures that meet each other accept each other’s inhe- rent values without experiencing conflic- ting conditions and have similarities in patterns and functions in their respective Fajar Ciptandi et al., The Existence of Aesthetic Transformation in Traditional Batik Colors 187 cultures. The use of synthetic dyes in the process of coloring Tuban batik has per- sisted until today and has become part of the tradition in Tuban itself, in addition to natural dyes. This tradition, as explained by Bhatia & Ram (2009), is not something static or represents something ancient and destructive, but rather something dynamic and evolving to adjust to existing contexts. This is explained by the theory of meme- tics as a memeplex, where a meme may not be inherited and duplicated to persist in its original form due to mutation. In this con- text, it is more influenced by the accultu- ration that occurs between the natural dye meme and the donor meme in the form of synthetic dyes that can run in parallel wit- hout causing conflict and enable mutual benefits. CONCLUSIONS The tradition of coloring traditional batik fabric in Tuban has undergone chan- ges in the presence of aesthetics towards four fundamental elements of tradition: Artifact, Nonmaterial Culture, Traditio- nal Ecology, and Traditional Teaching. Based on the recovery of the causal factors of this transformation, the failure to fulfill the requirements for meme replicators to continue inheritance is caused by mutati- on. This is triggered by competition at the level of ideas from several meme replica- tors in the minds of the Tuban community and won attention by donor/intervention memes that can disrupt the ideal tradition conditions. The forms of intervention that exist and affect the traditional batik coloring tradition in Tuban and the aim of preser- ving traditions amid the onslaught of in- tervention can become knowledge for an- ticipatory action by providing appropriate counters to each condition in the tradition that receives the intervention, including: At the level of ideas/spiritual, it is in the form of insights into modern lifes- tyle that are accompanied by concepts of belief in things that have not philosophi- cal meanings, which is currently no longer relevant to people’s beliefs because it has shifted to an emphasis on logic, hybridity can be carried out by bringing these philo- sophical ideas no longer to the level of be- lief but to the level of concepts and accom- panying narratives and product stories. At the social/behavioral level, it is in the form of disturbances in the form of domination of economic motivation due to the growth of the region towards indust- rialization, which leads all actors in the supply chain organization to act transac- tionally in carrying out the traditional co- lor traditions on traditional cloth. It is can be done by still providing space for main- taining internal market segmentation for the Kerek community so that community life patterns in making clothing for practi- cal needs can continue. At the physical/material level, it is in the form of a weakening of the skills of craftsmen and a decline in the visual aest- hetic form of the products. It can be deve- loped to improve skills through workshop approaches and training initiated at the government, private, organizational, and community levels. 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