Participants use a wide range of artistic approaches, such as Batik, Papier Mache, and Luminaria.
In 1985, while on tour with the Associated Board in Malaysia, Anna met Toya, a Batik artist living in Penang, and his nephew Kia.
In Indonesia, the Sundanese use Indigofera tinctoria (known locally as tarum) as dye for batik.
Projects have included Royal Philharmonic Orchestra workshops, the creation of a totem pole with stoneware faces with Hazle Ceramics, The National Gallery Take one Picture projects, Batik wall hangings with textile artist Louise Knight and the construction of a living willow dome.
According to the Museum of Cultural History of Oslo, it is known for certain that the Javanese influenced Malay batik-making technically as well as in the development of designs.
Davies-Okundaye, was brought up amidst the traditional weaving and dying as practised in her home town of Ogidi, Kogi State, in North Central Nigeria, though she has become known for a modern approach to traditional themes in her colourful batik and paintings.
From 1925 to 1927, Daura and Gustavo Cochet, an Argentine artist, designed and made batik material for couturiers, until fire destroyed their studio and business.