Batik: Tradition for Innovations

Royal Ambarrukmo Hotel, Yogyakarta
October 13, 2016



    Mr. Manu J. Widyaseputra

    Lecturer and Philologist, Universitas Gadjah Mada (Indonesia)

  • Global Innovation of Batik

    “REVEALING THE UNTOLD: Manuscripts Source of Inspiration for Puro Pakualaman Batik Creations”

    Her Royal Highness Princess Paku Alam X

    Vice Executive Chairman, National Craft Council of Indonesia, Special Region ofYogyakarta (Indonesia)

  • Global Innovation of Batik


    Edric Ong

    President, Society Atelier Sarawak (Malaysia)

  • Global Innovation of Batik


    Mdm. Tatyana Agababaeva

    Batik Artist (Azerbaijan)

  • Global Innovation of Batik

    “EXHIBITION ON JAVANESE BATIKS: Showing the Beauty – Explaining the Background”

    Annegret Haake

    Member of Batik Lover (Kronberg, Germany)

  • Talk Show

    “The Current Critical Issues on Batik Innovations”

    DR. Rahadi Ramelan (Indonesia)
    Surapee Rojanavongse (Thailand)
    Y.M. Raja Datin Paduka Fuziah binti Raja Tun Uda (Malaysia)
    Agus Ismoyo & Ms. Nia Flaim (Indonesia/USA)
    Min-Chin Kay Chiang (Taiwan)

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  • caret-downcaret-upcaret-leftcaret-rightmanuMr. Manu J. Widyaseputra
    Keynote Speaker

    laretnaDR. Laretna T. Adishakti
    Keynote Speech Moderator

    idaProf. Dr. Ida Rochani Adi

    princessHer Royal Highness Princess Paku Alam X

    edricEdric Ong

  • tatyanaMdm. Tatyana Agababaeva

    haakeMdm. Annegret Haake


    retnoRetno Murti
    Talk Show moderator

    rahadiProf. DR. Rahadi Ramelan
    Resource Person


    surapeeMdm. Surapee Rojanavongse
    Resource Person

  • rajadatinMdm. Raja Datin Paduka Fuziah Raja Tun Uda
    Resource Person

    agus_ismoyoMr. Agus Ismoyo
    Resource Person

    niaMrs. Nia Fliam Ismoyo
    Resource Person

    min_DR. Min-Chin Kay Chiang
    Resource Person

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Mr. Manu J. Widyaseputra

Lecturer and Philologist, Universitas Gadjah Mada (Indonesia)


Manu J. Widyaseputra is a Lecturer at Department of Nusantara Literature, Faculty of Culture Science, Universitas Gadjah Mada, 1985-present. His expertise is Sanskert and Ancient Java Philology. He holds Bachelor degree in Nusantara Literature, Faculty of Culture Science, Universitas Gadjah Mada, and continued to study Ancient Java and Sanskert Philology in Rijksuniversiteit Leiden, Rijksuniversiteit Utrecht and Rijksuniversiteit Groningen

His professional experiences among others are Member of Inter-Regional Literature Collaboration Board, Member of Three University UGM-UKM-UNS Collaboration Board, Keynote speaker in Indonesian Batik Lovers Foundation / Yayasan Pecinta Batik Indonesia, “Sěkar Jagad” and Member of Macapat Community/ Paguyuban Macapat “Saŋgrahêŋ Lokika” in Royal Castle/ Kraton Pasanggrahan Ambarrukma.

He has conducted researches in several countries such as Research on Ancient Javanese Manuscripts in Bali Indonesia, 1985-1990, Research on Mahābhārata and Rāmâyaṇa Manuscripts in Nepal, India, Research on Mahābhārata Manuscripts in Tamil Nadu, India, Research on Ancient Javanese Manuscripts in UB Universiteit Leiden, Research on Mahābhārata and Rāmâyaṇa Manuscripts in Kraton Yogyakarta and Research on Bratayuda Ngayogyakarta Manuscripts in London

His publications in the last 5 years are “Srikaṇḍi in Yogyakarta Wayang Tradition”, Seminar of Atmajaya University Anniversary Yogyakarta, 2011; “Soma in Kurukṣetra” Therapy and Medicine in Kakavin Bhāratayuddha XIII”, Seminar on Traditional Medicine at Perpustakaan Nasional Indonesia, 2011; “Kaca as Udyana”, Jumantara 3, no. 2, National Library, 2012; “Svīkṛta”, Seminar of Ruwatan Sukěrta Ambarrukma Royal Hotel, 2013; “Baṭik Yogyakarta for BPD Calendar”, Seminar on Yogyakarta Batik Motives, Sěkar Jagad Foundation and BPD Yogyakarta, 2013; “Pariṇaya in Kurukṣetra,International Conference” Archeology, Malay Historical and Natural Culture, in UKM Malaysia, 2013; and “Māyā-Sulūk-Līlā. Wayang Hermeneutic and Social Change”, Archeology International Conference, Malay Historical and Natural Culture, in UKM Malaysia, 2013.


Laretna T. Adishakti

Lecturer, Universitas Gadjah Mada (Indonesia)


Laretna T Adishakti (Yogyakarta, 19 October 1958) is a Lecturer and Coordinator of the Center for Heritage Conservation, Department of Architecture & Planning, Faculty of Engineering, Universitas Gadjah Mada in Yogyakarta, Indonesia, Laretna received her Doctorate in Engineering from Kyoto University (1997) while her Master of Architecture degree is from the University of Wisconsin, Milwaukee, USA (1988).

Currently, Sita, her nickname, facilitates as Co-founder and Presidium, Indonesian Heritage Trust; Board of Expert, “Sekarjagad” Batik Society, and Co-founder of the Jogja Heritage Society. She is a Facilitator for the International Field School on Asian Heritage, Indonesian Heritage Cities Program, and also the International Field School on Borobudur Heritage Saujana. She is also Director, Natural Indigo Batik Research and Design, Galeri Batik Jawa Indigo Co., Ltd. She is a Member of ICOMOS Indonesia; the Asian Academy for Heritage Management UNESCO-ICCROM; the KERUPUK/Komunitas Peduli Ruang Publik Jogja (Community of Jogja Public Space); and the Eisenhower Fellowship. Sita, who is also a painter and flower arranger, was selected as Eisenhower Fellow in USA (2002), served as Selection Committee for Rolex Award for Enterprises in Geneva, Switzerland (2006), received Nikkei Asia Prizes 2009 for Culture, in Tokyo, Japan, and “Practical Award 2015” from Association of Rural Planning, Tokyo, Japan.


Global Innovation of Batik

“REVEALING THE UNTOLD: Manuscripts Source of Inspiration for Puro Pakualaman Batik Creations”

Her Royal Highness Princess Paku Alam X

Vice Executive Chairman, National Craft Council of Indonesia, Special Region of Yogyakarta (Indonesia)


G.K.B.R.Ay. A Paku Alam was born in Semarang, on October 29, 1963. She has great fondness of batik. Her love for batik had arised since her childhood. At that time, her grandmother had many batik craftspeople working for her. She loved being at her grandmother’s house due to the typical aroma of batik wax. After she got married, she started living at Pakualaman Palace Yogyakarta, as the king’s daughter-in-law. Fortunately, the palace has an area designated for making batik, and again, the scent of batik wax reminds her of the art of making batik. The condition triggered her to make batik at the Palace. She started learning about batik making in 2011. Her batik creation is so special for it is based on the beauty of Pakualaman menuscript illumination. She tries to convey the meaning or messages of the manuscripts through batik. Through batik, She manages to preserve the heritage of Pakualaman manuscripts, maintain the culture, and socialize the philosopy of the anchestor’s teachings.

G.K.B.R.Ay. A Paku Alam has a lot of incumbencies. Here are some of her significant roles in some institutions. Currently, G.K.B.R.Ay. A Paku Alam, facilitates as one of the founders of Lembaga Perlindungan Anak Yogyakarta and the chairman of Dharma Wanita Persatuan DIY. She is involved in managing Sekar Jagad Batik Society. She is person in charge of Puro Pakualaman library and is responsible for developing Puro Pakualaman and  batik Puro Pakualaman.



President, Society Atelier Sarawak 


‘Toward an Eco Lifestyle’ conjures in us a vision of a world where we live harmoniously and healthily together in an environment that respects the earth and nature. Mankind- is the constant consumer. However in this modern age and time, aggressive marketing and consumerism seems to be our biggest obstacle to cross in order to establish an idealistic ‘Eco-Lifestyle’.

How much is enough?

What are the alternatives to the world of ‘fast’ fashion with all the hype and wonder created by the media and business? Is ‘slow fashion’ an answer?

Here are a few examples of successful ‘slow fashion’ concepts that have been traditionally in several cultures e.g.. India (the sari as heirloom), Japan (‘boro’ textiles i.e. recycled), Malaysia (the ‘sarong’ as men’s pyjama) and the universal ‘blue jean’ culture!

Defining yourself by what your wear?

The contradictions in our personal fashion views on: ‘old’ vs. ‘new’; the ‘fastness’ factor; ‘local’ vs. ‘international’ style; ‘green fashion’ vs. ‘techno- fashion’.

Fashion is about trends! Trends are about seasons and change!

‘Slow’ Fashion is not a new concept or word. It has always been there, but not highlighted. It is taken for granted. Is it relegated to being ‘old’ fashion?

The white elephant in our life!

We need to provoke and promote better and more consciousness amongst the public. If we continue to ‘consume’ at an ever increasing rate of population growth; if we continue with a greater appetite for all things new and sometimes un-necessary, we are digging our own graves.

Keep smiling, keep happy…BUT the news is blasting us about the effects of ‘climate’ change, carbon foot-prints, and environmental disasters.

But the human race as consumers needs to have a paradigm shift in thinking of the way we live.

We need to constrain ourselves before we succumb to the fate of destroying the world we call home!

What if the sea runs dry? Think about your future generations!

We head towards an ‘Eco Life-style’ looking back at our past mistakes

Our fragile world needs mending!


Mdm. Tatyana Agababaeva

Batik Artist (Azerbaijan)


For my batiks I choose, basically, our Azerbaijani silk, which is at least two thousand years old. Ancient Azerbaijan people gave to the silk a preference for women head-scarves – kelagai. I will tell you about the manufacturing of silk kelagai in the village of Basqal, and I will introduce to some of my art works in which I used the techniques of watercolor techniques, prints, poster, easel painting and also shibori, monotype on water, free painting and airbrushing.

About Mdm. Tatyana Agababaeva

Tatyana was born in a family of artists in 1953 year in Alma-Ata, Kazakhstan. She studied painting on canvas in the Art school named A. Azimzade in Baku. After graduating, in 1982 from the Art and Industry Academy in Saint – Petersburg her art work is inextricably linked to batik. She is a member of the Union of Artists of Azerbaijan and USSR, 1991 – present. She has participated in All-Union, International and National exhibitions and symposiums, 1976 – present. In 2004, she was the winner of the Republican contest “Azerbaijan today”, organized by the company Unocal Khazar and Baku Center of Art in the category of “Batik”. In 2009, Mdm. Tatyana was the Speaker and in 2011, the participant of Kuala Lumpur International Batik (KLIB) Convention & Exhibition (Kuala Lumpur. Malaysia). In 2011 she was the Curator and the exhibition participant in «Week of Batik in Baku”. In 2014 she leads the Master-class and batik exhibition in the Village of Azerbaijan in the Place Saint Sulpice in Paris. Many of her batiks are in museums and private collections in Azerbaijan and foreign countries.

“EXHIBITION ON JAVANESE BATIKS:  Showing the Beauty – Explaining the Background” 

Mdm. Annegret Haake

Member of Batik Lovers (Kronberg/Germany)


It was not “just a simple walk” but at that time I was a little bit younger. Unbelievable, during the 3 weeks we were nearly shown to all touristic places which filled up my brains. The first Indonesian word I learned from the local guides was “gula-gula”, after our German tour-leader had found one, and the group had to “communicate with hand and feet” to get information in case their English was too poor.

At the end of our tour in Yogyakarta, some of us hired a taxi to find souvenirs for friends at home. We were taken to Batik Winotosastro. And that made me a fan of Javanese batiks.

Coming home, an association of German –Indonesian friendship was founded. Of cause, during each holiday in future my destination was Indonesia to visit the families of my new friends and to learn more about their culture. Since that time I never felt bored.

During the following years I collected old and new batiks and wayang puppets and showed them in exhibitions in many places, mostly in Germany. The very first one was in Frankfurter Sparkasse 1822 (a bank) in 1976. Dati and Hani Winotosastro were sent by their parents to join the Frankfurt Fair at the same time. Together, we organized the exhibition supported by the Indonesian Embassy in Germany. Many exhibitions at different places followed.

Each place is different. Therefore, it is necessary to check the available space. The concept is always the same, namely:

  1. How is it made (working place with tools and materials, tulis + cap)
  2. Characteristic of batik Areas
  3. Systematic of Patterns
  4. Traditional Dresses
  5. a) Royal and Bridal Couples
  6. b) Ordinary People
  7. Larangan (forbidden patterns for the public)
  8. Symmetry of Traditional Patterns
  9. Characteristic of Batik, Plangi, Tritik (reservation techniques), and

   printed Fakes.

I regard it as very important to explain the different reservation techniques and their characteristics. Another main point is, to show, how the fakes can be recognized. Therefore, this point is part of each of my exhibitions.


Brief Bio-Data Mdm. Annegret Haake

Annegret Haake born in Bremen (Germany) in 1933. She attending various schools in Bremen and Saxonia (due war period and finished her education in farming and householding, final examination through chamber of agriculture, Hannover. From 1953 she practicing on farm of parents near Bremen and another in Sweden then she moved from Bremen to surrounding of Hamburg. In 1962 she further her education in technical chemistry in Isny/Allgaeu, Germany: state examination as “Chemotechniker” (technical assistant) and then work as technical assistant at “Technikum fuer Chemie und Physik” (“Technical Academy of Chemistry and Physics”) in Isny; teaching botanical microscopy. In 1966 she work as technical assistant at “Institut fuer Kristallographie der Universitaet Frankfurt am Main” (institute of crystallography, university of Frankfurt am Main); (scope: chemical and physical analyses, photography; preparation of scientific publications; creation of educational aids);

Since 1970 Annegret Haake interested in private ethnographical studies – special items: textiles; unguided journeys to South East Asia. She organized numerous exhibitions of Indonesian arts and crafts (especially, batik and wayang) at private as well as public galleries; publication of the book “Javanische Batik” (1984), catalogue on an exhibition of “Wayang Kulit” (1993) Co-operative exhibitions and publications with Batik Winotosastro/Yogyakarta.

Due to professional work at the crystallographic institute, occupation with symmetry in arts; several publications and lectures on “symmetry in Javanese batiks” at congresses of symmetry, crystallography and textiles. Active participation at congresses of batik, crystallography and symmetry in arts in Europe, America, Asia Africa.

Her latest activities include participation at “World Batik Summit 2011” in Jakarta, speaking about “Bringing Batik to the World using “Tambal” and “Composition” and joining an exhibition of Indonesian batik organized by EKONID (chamber of commerce Indonesia/Germany) at the “Gallery Nasional” in Jakarta. Participation at Frankfurt book fair 2015, (Indonesia was guest of honour) with new booklets (short introduction to Javanese batik) and a CD on “Symmetry in Javanese Batik Patterns”. Exhibition in Kronberg castle named “Batik – Kris – Wayang”.


TALK SHOW “The Current Critical Issues on Batik Innovations”

Prof. DR. Rahadi Ramelan

The Chairman of Expert Council, Indonesian Batik Foundation (Indonesia)


Rahardi Ramelan was born in Sukabumi, West Java on September 12, 1939. Upon graduating form High School in 1958, he received a scholarship to study at the Czech Technical University in Prague, Czechoslovakia in the field of Mechanical Engineering. A Masters Degree in Mechanical Engineering was conferred in 1964 at the same university.

After returning to Indonesia in 1965, Rahardi Ramelan joined the Indonesian Air Force and worked in the Research Department. In 1967, when the Directorate General for Aviation Industry was established within the Ministry of Industry, he was appointed as Head of the Planning Bureau.            

In 1970 he joined Messerschmitt-Bolkow-Blohm, a German Aerospace Company, as a Structural Analyst. He returned to Indonesia in 1975 together with Prof. Dr.-Ing. B.J. Habibie, to establish the Advanced Technology Division of Pertamina. From there on, he assumed several management positions and responsibilities related to Indonesian Aviation Industry (PT. IPTN), the Weapon Industry (PT. PINDAD), and in the Government, as Deputy Chairman for Industrial Analysis, in the Agency for the Assessment and Application of Technology (BPPT) (1978 – 1993). He was assigned as Vice Chairman of the National Development Planning Agency (BAPPENAS) – (1993 – 1998).

Rahardi Ramelan is a Research Professor at the Agency for the Assessment and Application of Technology (BPPT) and Professor at the 10th November Institute of Technology, Surabaya (ITS), in Manufacturing Technology. He received the honorary degree of Doctor Honoris Causa from Monash University, Australia (1997) and Northeastern University Boston – USA (1998).

On March 16, 1998 he was installed as Minister of State for Research and Technology/Chairman of the Agency for Assessment and Application of Technology (BPPT) in the Seventh Development Cabinet of the Republic of Indonesia, which was lasted until May 21, 1998.

On May 23, 1998, he was installed as Minister of Industry and Trade in the Development Reforms Cabinet of the Republic of Indonesia and since August 26, 1998, he was also the Chairman of National Logistic Agency under President B.J. Habibie.

He is married to DR. Med. Tumbu Astiani, and blessed with son Bastian Kuntoadi, BSc. MSIS and daughter Dian Kunti Sintorini, B.Sc., MA.

Mdm. Surapee Rojanavongse

Former President, World Craft Council-Asia Pacific Regional (2009–2012) (Thailand)


Mdm. Surapee Rojanavongse had been involved in countless activities in the development and promotion of handicrafts for more than forty years both at national and international levels:

  • Chairperson of Community Bonds Foundation: 1999 – Present
  • President of Thai Handicraft Promotion Trade Association (THTA): 1976 – Present
  • Chairperson of ASEAN Handicraft Promotion and Development Association (AHPADA): 1981 – Present
  • Adviser & Honorary Member of World Crafts Council (WCC) and World Crafts Council – Asia Pacific Region (WCC-APR)
  • Former President of World Crafts Council Asia Pacific Region (WCC-APR): 2009 – 2012

As Founding Member and Life-time Honorary Chairperson of AHPADA, she has in 2001 collaborated with UNESCO Regional Office to launch the SEAL of Excellence / UNESCO – AHPADA Award of Excellence for Handicrafts in 2001 – 2008, 2010, 2012.

In 2014, this programme has been transferred to World Crafts Council (WCC) and the programme is now called “WCC Award of Excellence for Handicrafts”.

Mdm. Raja Datin Paduka Fuziah Raja Tun Uda

WCC Honorary Member/Adviser


Raja Fuziah binti Raja Tun Uda has had a long and distinguished career in the development and promotion of the arts and crafts of Malaysia. Following her ten-year services with the training division of Majlis Amanah Rakyat (MARA), she was appointed the first Director General of the Malaysian Handicraft Development Corporation. From 1986 to 1989, she serviced the OIC Istanbul-based Research Centre for Islamic History, Art and Culture. A former Regional President of the World Crafts Council Asia Pacific and President of the Crafts Council of Malaysia, she continues to sit on the Board of Trustees of the National Library. Raja Fuziah, who has curated several craft exhibitions and contributed numerous papers at international conferences, has received many awards for her work, including Malaysia’s National Arts Award in 2009 for her individual efforts in promoting the arts.

Mr. Agus Ismoyo & Mrs. Nia Fliam Ismoyo

Brahma Tirta Sari Studio



‘Out of Southeast Asia’ Textile Museum Washington DC

‘Indonesian Fiber Art’ Grassi Museum Liepzig Germany

‘International Festival of Extraordinary Textiles 1 & 2’ HS Project and Museum Bargoin Clarmont-Ferrand France

‘Beneath the Winds: Masterpieces of Southeast Asian Art’, Gallery of South Australia

Jogja Bienalle 2003/2005/2007/2009 “Fiber Face of Indonesia 2008—Cross Cultural Collaborations of Brahma Tirta Sari” Solo Exhibition Netzorg and Kerr Gallery Richmond Center for the Visual Arts, Western Michigan University, Kalamazoo, Michigan USA, Indonesian Embassy, Washington DC, Island Gallery Bainbridge, Washington USA, Taman Budaya Jogyakarta,

“IndonesiaOzAsia Festival” Exhibition with Aboriginal artists from Ernabella Arts Studio collaboration with Brahma Tirta Sari Adelaide Australia

“Skin to Skin” Group show of Aboriginal artists Old Parliment House, Canberra Australia Ernabella Arts & Brahma Tirta Sari collaboration

Restrospective of Jogyakarta Artists” Group show of Yogjakarta artists from 1970-2006 Jogjakarta Gallery, Yogjakarta

Let the Earth Speak” Collaborative work between Studio Brahma Tirta Sari and Ernabella Arts , Fabric of Life Gallery, Fringe Show for Adelaide Art Festival Adelaide, Australia

Unity” Collaborative work between Brahma Tirta Sari, Kasabone (Mali Mud Cloth) and two Nigerian batik artists Yemisi Ajayi, Baba Sangodare Ajala

American Cultural Center Bemako, Mali,

Nigerian Cultural Center, Lagos, Nigeria

”Out of Indonesia” Solo Exhibition Brahma Tirta Sari

World Batik Conference, Boston Massachusetts, USA

Bellvue Art Museum, Seattle Washington, USA

Island Gallery, Bainbridge Island, Washington, USA

Opening of the Culture House Babaran Segaragunung, Joygyakarta,

Brahma Tirta Sari Gallery, Ubud Bali

Unwrapped” Collaborative work of Brahma Tirta Sari & Utopia Urapuntja Group show traveling exhibition of Australian textiles: Sponsored by Asia Link Bendigo Gallery, Melbourne, Australia National Gallery, Kuala Lumpur National Gallery, National Gallery Bangkok Metropolitan Museum, Filipina La Salle, Singapura

‘Interplasi’ CP Open Bienalle Jakarta

Speaking With Cloth: Cerita Dalam Kain”

Cloth from the Abbott Collection & and contemporary Indonesian textiles Paddington, NSW Australia, Museums and Galleries of the Northern Territory, Darwin, Australia  

Batik of Change” –International Batik Exhibition

Chamber of Crafts, Hannover, German

Smend Gallery Koln Germany

Trade Winds” Works in the Collection of the Powerhouse Museum

Powerhouse Museum, Sydney, Australia

Segaragunung” – Solo Exhibition of Brahma Tirta Sari

National Museum Jakarta, Indonesia

Gallery Brahma Tirta Sari, Ubud, Bali, Indonesia.

Collaborative work of : Studio Brahma Tirta Sari Australian  

Batik artists from the Aboriginal community of Utopia, Central  

Youth from Mt. Lawu, Jawa, Indonesia

National Crafts Exhibition”Gallery National Indonesia, Jakarta, Indonesia

“Songs of the Ancestors” – Araluen Art Center, Alice Springs & Desart Gallery, Sydney.  Traveling Exhibition with Aboriginal batik artists from Brahma Tirta Sari & Utopia Urapuntja, Central Australia

“Songs of the Ancestors” University of Victoria, Victoria, Canada: Solo exhibition at Maltwood Museum.

Beyond the Future” Asia Pacific Triennial III. Collaborative work with Aboriginal artist  from Utopia Urapuntja, Central Australia

International Crafts Award – Museum & Art Galleries of the Northern Territory.

Invitational exhibition of selected craft as art from Australia

and Southeast Asia

Jurassic Technologies’, 10th Sydney Biennale Sydney, Australia


“Seal of Excellence” given by UNESCO/AHPHADA for superior crafts to Brahma Tirta Sari 2004

‘Indofest Awards Exhibition’, Finalist in Invitational Artists’ Awards Nexus Multicultural Arts Centre, Adelaide Australia


Ford Foundation Southeast Asian Visiting Scholar in Residence for three months Canadian University of Victoria / University of Alberta artists-in-residence 2000

Fulbright Scholar in Residence one year grant USA University of Western Michigan artists-in-residence 2007-2008 


Oriental Hotel Esplanade Singapore

Permanent Installation for Sacred Music Festival Esplanade Singapore

Min-Chin Kay Chiang

Assistant Professor at the Graduate Institute of Architecture and Cultural Heritage and Director of the Center for Teaching and Learning in Taipei National University of the Arts (Taiwan)


Min-Chin Kay Chiang obtained PhD in Archaeology (Cultural Heritage Studies), Leiden University, The Netherlands. MA in Art History, The University of Nottingham, The United Kingdom, and BA in History, National Taiwan University, Taiwan. Right now she works as the   Director, Center for Teaching and Learning, Taipei National University of the Arts, Taiwan and Chief of the Division of Exhibition and Planning, Center for Traditional Arts, Taipei National University of the Arts. Previously she also acted as Director, Taipei County Gold Museum (Gold Ecological Park) as well as Curator & Chief of the Division of Planning, Taipei County Yingge Ceramics Museum

She has been a Member of Government Advisory Committee for Bureau of Cultural Heritage of the Ministry of Culture: Advisory Committee of Traditional Crafts ,New Taipei City, Advisory Committee of Traditional Arts,New Taipei City, Advisory Committee of Antiques and new Taipei City Yingge Ceramics Museum, Advisory Committee of Collection.

Her previous projects include International Cooperation ‘Shared Heritage’: Postcolonial Heritage and Civil Society in Taiwan . She has done Lectures and workshop in Leiden, co-organized by the International Institute for Asian Studies, The Netherlands and the Institute of Historical Resources Management, Taiwan as well as curatorial Project Memory and Migration: Edric Ong X Wanlee Chen (An exhibition in The FuturePast Lab, Taipei National University of the Arts). Her international Cooperation in Indonesia is Transformation of Crafts Heritage and Community Development in the Asian Pacific Region. Series Lectures and Workshops in the Taipei National University of the Arts, Institute of Historical Resources Management and National Taiwan Craft Research and Development Institute). She have an international Cooperation works in Bali, Indonesia Taiwan Lion Meets Bali Barong Ket as a Co-Production Project of the Sanggar Paripurna, Bali and the TNUA, Taiwan, which is performed in the Bali International Arts Festival . and also an international Cooperation with the Netherlands Threads of Time: Traditional Textiles and the Contemporary Transformation in Taiwan as Series Events of Exhibition, Public Lectures and Workshops, cooperated with the International Institute for Asian Studies, The Netherland. Other Curatorial Project include Ocean of Cloth Wheels which is an art project in the 2013 Fukutake House, part of the Asia Art Platform; co-curated with The Institute of Historical Resources Management, Taiwan.