Viewing batik: From a local cultural space or global space?

The typical South East Asian model – Nationalise Batik and claim our rightful ownership for the craft. The Western model – Let’s see what we can do to be masters of this craft. As with any art, diligent investigation is needed to study both models, so as to determine which model works best in an individual setting.  Say a practioner follows the South East Asian model. One of the pros is a piece created deeply rooted in a local culture: the rituals, the clothing, the lifestyle of the people living in that culture and the natural environment of that culture. The cons being producing repetitive works that serve nothing beyond the sole purpose of preserving the craft. In short, creating batik for the sake of doing it. And if the artist opts for the Western model, a piece would probably go beyond the boundaries of local culture, making it susceptible to the ebbs and flows of pop culture or mass-produced commodities, often products of globalisation. The pros would probably be creating innovating pieces and possibilites of cross-cultural exchanges between other artists from different localities. While the debate over which model reigns over the other will go on, more often practitioners miss a middle model, which is momentary space in which they create when inspiration calls regardless of where they are. As a batik practitioner, which model suits you best?