The use of batik cloth is central to this tradition, representing cultural identity and aesthetic expression within the Banjar community. Two types of batik cloth are employed:

Cradle Batik Cloth: Used to construct the baby’s cradle.

Swaddling Batik Cloth: Wraps and secures the baby, ensuring comfort and safety.

These textiles highlight the integration of traditional textile artistry into the ritual, enhancing its cultural and visual significance.

The primary equipment and materials include:

Cradle: A hanging cradle crafted from batik cloth.

Small Shelter: A modest structure providing a cosy and intimate setting for the ritual.

Batik Cloth: Essential for constructing the cradle and swaddling the baby.

Prayers and Recitations: Includes supplications and salutations to Prophet Muhammad (SAW) to bless the ceremony.

Cradle Preparation:

Batik cloth is tied at both ends to form a cradle, which is then suspended inside the small shelter.

Baby Swaddling:

The baby is carefully swaddled in batik cloth to mimic the sensation of being held securely, ensuring a seated and comfortable position.

Ceremony Execution:

The ritual begins with the recitation of prayers and salutations to Prophet Muhammad (SAW).

The baby is placed in the cradle, which is gently rocked while a traditional lullaby is sung:

Yun ayun anakku ayun (Rock my child, gently rock)

ayun di dalam, dalam ayunan (Rock within, within the cradle)

lakas bakijim, lakasi guring (Grow swiftly, sleep peacefully)

umak aur banyak gawian (Your mother has many tasks)

Lailahaillalah Nabi Muhammad pasuruh Allah (There is no God but Allah, and Muhammad is His Messenger.)

Yuna dinana anakku guring (Rock my child, sleep soundly)

guring di dalam, dalam Bismillah (Sleep within, in the name of Allah)

jauhi culas jauhkan kulir (Stay away from laziness and neglect)

kus samangat hidup baiman (Strengthen faith and vitality in life.)

This lullaby not only soothes the baby but also imparts spiritual blessings, reinforcing the ceremony's cultural and religious significance.

While no specific individual is associated with the origin of Adat Bapukung, the Banjar community collectively preserves this tradition as a vital aspect of their cultural identity.

Communities in Johor and other parts of Malaysia, such as Kerian in Perak, continue to practise this tradition, ensuring its relevance and transmission to younger generations. The enduring practice of Bapukung demonstrates the Banjar people’s commitment to maintaining their heritage within a modern context.