THE DEVELOPMENT OF “DOLLY ALLEY” BATIK MOTIF SURABAYA

Community empowerment as a result of the closure of the 'Gang Dolly' localization and its surroundings needs to be handled properly and sustainably. The emergence of the spirit of Batik SMEs (Small and Medium Enterprises) that surges in the region needs to be supported by various parties, especially universities that are related to batik activities. Therefore, the problems in this research are; (1) what are the batik motifs in 'Gang Dolly' Surabaya? (2) how is the development of batik motifs in 'Gang Dolly' Surabaya? This study uses research and development (Research & Development/R&D) by Thiagarajan (1974) with a 4D model which includes the Define, Design, Develop and Desseminate stages. There are 3 groups of batik motifs found in the 'Gang Dolly' Batik, namely batik motifs; (1) principal (primary) which is in the form of stylized from: (a) jatropha leaves, (b) jatropha flower/fruit and (c) butterfly, (2) secondary which is stylized from: (a) suroboyo symbol/logo, (b) the Suramadu bridge and (c) Sawunggaling, (3) tertiary, namely order motifs, usually the motifs vary, such as; ambyar widow motifs, remo dance, fighting fish, kotrik, etc. The development of the 'Gang Dolly' batik motif is carried out by designing batik motifs based on the findings of batik motifs: principal (primary) by developing the design of jatropha leaf motifs, jatropha flowers/fruits and butterflies, along with their elements. Secondary and tertiary does not need to be developed motifs because usually the buyer is ready with their own batik motifs.