borobodur cultural mapping report and artisan baseline...

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BOROBUDUR CULTURAL MAPPING REPORT AND

ARTISAN BASELINE SURVEY

2014

JAK/2014/PI/H/5

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The Borobudur Cultural Mapping and Artisan Baseline Survey were conducted by

in cooperation with

The Local Government of

Magelang Regency

with generous support from

© 2014 UNESCO Office, Jakarta

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PREFACE The Borobudur Temple Compounds are a UNESCO World Heritage site visited by some 3 million tourists every year. Despite tourism’s great potential as a catalyst to lead local development, many community members feel that they have missed out on opportunities to interact with tourists as tourists rarely visit the villages in the temple’s surrounds. This situation has been compounded by the impact of natural disasters, when in 2010 Mount Merapi erupted, severely impacting the Borobudur area and affecting local peoples’ livelihoods. As a result, the average income of the people here is well below the national standard. Despite these challenges there are huge potential for sustainable development in the Borobudur area. Local cultural industries, although informal, are well established with many communities already involved in handicraft production such as ceramic‐making; bamboo crafts; local cuisine factories making tofu and noodle; communities presenting traditional performances; villagers operating small‐scale local tours and hosting guesthouses. Since July 2011, UNESCO has been supporting such industries through small scale training focusing on cultural industries, hospitality, local cuisines, etc. in order to up‐scale the income generation potential. In 2012, the Government of Australia through AusAID provided financial contribution for a project entitled ‘Revitalization of the Local Community Livelihood in Cultural Industries and Heritage Tourism’. The overall objective of the project was to improve the livelihoods of communities at Borobudur by harnessing the potential of the area and also to develop a model that links community groups locally with professional Indonesian creative businesses. Besides these two areas, the project also aims to increase the capacities of local artisans to design and produce high quality handicrafts through a community‐managed training centre. Other activities within the project includes awareness raising of the potential of cultural industries to Borobudur community members and visitors, the development of networks between key stakeholders such as community members, local and national government, the Borobudur park management and local, regional, national and international business networks. Within this UNESCO’s AusAID funded project, a community based cultural mapping and artisan baseline survey in Borobudur area were also conducted by Yayasan Trisakti Arum Lestari (YTAL), an NGO based in Yogyakarta in close consultation with Mr. Joseph Lo, an international cultural industry development expert and UNESCO Office, Jakarta. This exercise involved 20 villages in the Borobudur Sub‐district and over 150 community members.

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The purpose of the cultural mapping and artisan baseline survey are: • To collect credible primary data or first‐hand information to paint an accurate profile of

the Borobudur artisan highlighting his/her status and work, income and challenges. These information will be used for policy recommendations and future programming work;

• To record, identify, and classify local crafts designs and qualities, culinary products, and marketing channels;

• To raise awareness regarding environmental protection and social responsibilities in relation to production of local crafts and its related activities;

• To document types of art performances and identify their potentials; • To increase business capability and expand market scope for local products; and • To strengthen institutional support mechanism to support crafts activities. This report is the result of cultural mapping and artisan baseline survey which were conducted from April to October 2013. © UNESCO/2014 Drafting Team : Yayasan Trisakti Arum Lestari Editing Team : ‐ Joseph Lo (Coordinator)

‐ Wieske Octaviani Sapardan ‐ Nurdina Prasetyo ‐ Maria Anggita Kusalasari

Photo credits : Yayasan Trisakti Arum Lestari

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TABLE OF CONTENT

CULTURAL MAPPING

INTRODUCTION……………………………………………………………………………………………………….…… 5

1. Kebonsari Village……………………………………………………………………………………………………. 6

2. Karangrejo Village…………………………………………………………………………………………………. 7

3. Tegalarum Village…………………………………………………………………………………………………. 8

4. Kembanglimus Village…………………………………………………………………………………………… 9

5. Wringinputih Village…………………………………………………………………………………………….. 10

6. Borobudur Village………………………………………………………………………………………………… 11

7. Wanurejo Village………………………………………………………………………………………………….. 12

8. Candirejo Village………………………………………………………………………………………………….. 13

9. Sambeng Village…………………………………………………………………………………………………… 14

10. Bigaran Village……………………………………………………………………………………………………… 15

11. Kenalan Village……………………………………………………………………………………………………… 16 12. Ngargogondo Village…………………………………………………………………………………………………………. 17

13. Majaksingi Village………………………………………………………………………………………………………………. 18

14. Tuksongo Village……………………………………………………………………………………………………………….. 19

15. Tanjungsari Village…………………………………………………………………………………………………………….. 20

16. Karanganyar Village………………………………………………………………………………………………………….. 21

17. Giritengah Village……………………………………………………………………………………………….…………….. 22

18. Giripurno Village……………………………………………………………………………………………….………………. 23

19. Bumiharjo Village………………………………………………………………………………………………….………….. 24

20. Ngadiharjo Village……………………………………………………………………………………………………………… 25

ARTISAN BASELINE SURVEY

A. INTRODUCTION……………………………………………………………………………………………….…… 27

B. Details of the Survey…………………………………………………………………………………………….. 29

C. Findings and Analysis of the Survey……………………………………………………………………….. 30

D. Key Findings and Recommendations……………………………………………………………………. 67

ANNEX

1. Survey Questionnaire

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CHAPTER I

CULTURAL MAPPING Introduction

The participatory cultural resource mapping and artisan baseline survey of the area around Borobudur Sub‐district of Magelang, Central Java, Indonesia were intended to identify, record, and classify the cultural and also significant physical/natural resources and cultural‐based industries within the area. In total, there were 152 products surveyed from 20 villages. 100 artisans and 41 performance groups were interviewed and 11 natural sites visited. However, only 3 main industries/activities/sites (handicrafts/local food/ performances/ natural sites) per village were chosen for this report, totalling 60 items. The criteria to select these industries/activities/sites was based on their quality, authenticity, production quantity, accessibility, marketability, raw materials’ availability, as well as involvement of local community members in producing, performing or its meaning to local people. Specific reasons for the selection of the objects will be detailed for each object.

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The following are the list of selected objects in each village (Please refer to the Map):

1. Kebonsari Village

No.*/Product/ Name of the

Producer/ Sub-village

Distance, Travel Time Originating from (a)

Borobudur Temple, (b) Village Hall, (c)

UNESCO Gallery

Location Direction in relation to (a)

Borobudur Temple, (b) Village Hall, (c) UNESCO Gallery

Mode of Transportation

(for transporting products from

production site to markets)

Marketing Site

(1) Bamboo Pen Mr. Suyudi,

Cakran

a. 500 m, 3 minutes b. 5 KM, 10 minutes c. 12 KM, 30 minutes

a. NNE (1 o’clock) b. East (3 o’clock)

c. NNW (11 o’clock) motorcycle

- Borobudur - Yogyakarta - Medan,

Brastagi - Jepara

(3) Volcanic Ash key holder

Mr. As. Haryanto, Cakran


a. NNE (1 o’clock) b. East (3 o’clock)

c. NNW (11 o’clock) motorcycle

- Borobudur - Yogyakarta - Bali

(10)Criping Tales(Root Tuber

Snacks) Mr. Nurokhim,

Kebonwage

a. 1 KM, 5 minutes b. 5 KM, 10 minutes c. 12 KM, 30 minutes

a. NE (2.30 o’clock) b. SE (3.30 o’clock) c. NNW (11 o’clock)

motorcycle

- Borobudur - Yogyakarta - Salaman - Kajeran

*Refer to the Map No. 1 Note that transportation in the sub district ‐ 20 villages: within the low‐land villages, visitors could travel by andong (local horse carriage), bicycle, motorcycle, car and bus (in the main road), but within the high‐land which is more hilly (Sambeng, Bigaran, Kenalan, Candirejo‐upper site) visitor could only travel by car/motorcycle to visit the places. The reasons for selecting the above 3 items are as follows: (1) Good example of successful home‐based industries that involve a good number of

community members (i.e. 32 bamboo pen producers). (3) The artisan is the pioneer of bamboo and volcanic ash craft. (10) Large quantity produced (in average 5,817 kg of criping tales produced per month).

Bamboo Pen Volcanic ash craft Root Tuber Snacks

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2. Karangrejo Village





UNESCO Gallery






Marketing Site

(13) Jet Koled(cassava crackers),Mr.

Mukiban,Kretek II


a. NE (2 o’clock) b. NE (2 o’clock)

c. North (12 o‘clock)

motorcycle

- Borobudur Traditional Market

- Yogyakarta - Muntilan

(14)Volcanic Ash Handicrafts

Mr. Amin Lisman Ragil, Kretek I


a. North (12 o’clock)

b. SSE (5 o’clock) c. North (12

o’clock)

motorcycle - Borobudur - Yogyakarta

(21) Punthuk Setumbu View

(Nirwana Sunrise) Mr. Jazid, Kurahan

a. 1,5 KM, 15 minutes b. 3,5 KM, 15 minutes c. 3 KM, 10 minutes

a. NE (2.30 o’clock) b. East (3 o’clock)

c. North (12 o’clock)

motorcycle ‐

*refer to the Map No. 1 The reasons for selecting the above 3 items are as follows: (13) Good quality; good access to raw material (cassava); commercially success (14) Good quality; good access to raw materials (volcanic ash); commercially success (21) Good vantage point; availability of infrastructure; good potential for further

development

Cassava crackers Volcanic Ash handicrafts Punthuk Setumbu Sunrise View

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3. Tegalarum Village





UNESCO Gallery






Marketing Site

(22)Rempeyek Kacang (peanut

cracker),

Mrs. Zaidah,

Premburan

a. 1 Km, 5 minutes b. 6,5 KM, 20 minutes c. 7 KM, 20 minutes

a. SE (4 o’clock) b. SE (4 o’clock)


car - Salaman

(23) Bamboo Craft, Mr. Supandi,

Susukan


a. SE (4 o’clock) b. East (3 o’clock)

c. North (12 o‘clock)

motorcycle

- Borobudur Traditional Market

- Yogyakarta

(29)Mushroom Satay,

Mr. Purwanto, Tegalwangi


a. East (3 o’clock) b. East (3 o’clock)


motorcycle

- Tegal Arum Mushroom Restaurant (privately owned)

*refer to the Map No. 1 The reasons for selecting the above 3 items are as follows: (22) Good market demand; economically sustainable and good access to raw material

(peanuts). (23) Well developed product; good market demand, and good access to raw material

(bamboo). (29) Well developed product with unique raw material (mushrooms as substitute for

meat).

Peanut crackers Bamboo Furniture Mushroom Satay

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4. Kembanglimus Village





UNESCO Gallery



Mode of Transportation Marketing Site

(31)Samier (cassava crackers),

Mr. Muhdirlan, Kembanglimus

a. 700m, 4 minutes b. 3 KM, 10 minutes c. 8 KM, 20 minutes

a. NE (1.30 o’clock) b. NE (2.30 o’clock) c. NNW (11 o’clock)

bicycle - Borobudur - Salaman

(32)Beong fish (a special type of fish

found within Borobudur

region), Mrs. Murniah, Kembanglimus


a. East (3 o’clock) b. SE (3.30 o’clock)

c. NNW (11 o’olock) motorcycle

- Magelang Regency office

- “Selera Pedas” Restaurant (privately owned)

(34)Tempe (fermented

soybean patty), Mrs. Miharsih,

Bumen


a. SE (4 o’clock) b. East (3 o’clock)

c. NNW (11 o’clock) car - Borobudur

*refer to the Map No. 1 The reasons for selecting the above 3 items are as follows:

(31) The taste is well‐appreciated, good market demand, economically sustainable, and good access to raw materials (cassava)

(32) Unique material (beong fish is a unique species of fish available only in Progo River within Borobudur area), the taste is well‐appreciated

(34) Good market demand within Borobudur area

Cassava crackers Beong Fish Tempe (fermented soybean patty)

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5. Wringinputih Village





UNESCO Gallery



UNESCO Gallery


(39a) Children toys-sponge,

Mr. Edy Tukriyadi, Jetis Gayu

a. 1 KM, 3 minutes b. 4 KM, 10 minutes c. 8 KM , 20 minute

a. SE (3.30 o’clock) b. SSW (5.30 o’clock) c. North (12 o’clock)

motorcycle - Borobudur Tourism Park

(43)Samier (cassava crackers),

Mr. Supriyadi, Karangjati

a. 1 KM, 3 minutes b. 4 KM, 10 minutes c. 8 KM , 20 minutes

a. NE (2 o’clock) b. SE (4.30 o’clock) c. North (12 o’clock)

motorcycle - Muntilan

(47)Papaya in syrup,

Mr. Slamet Muntarno,

Karangmalang

a. 1,5 KM, 5 minutes b. 3 KM, 10 minutes c. 8 KM , 20 minute

a. West (9 o’clock) b. SE (3.30 o’clock)

c. North (12 o’clock) motorcycle

- Pondok Tingal Hotel

- Manohara Hotel

- “Mbanar” Restaurant

- “Selera Pedas” Restaurant

- Borobudur *refer to the Map No. 1

The reasons for selecting the above 3 items are as follows: (39a) Highly popular children’s toy, good market demand (43) The taste is well‐appreciated, good market demand, economically sustainable, and

good access to raw materials (cassava) (47) Good access to raw materials (extensive papaya plantation in the region), the taste is

well‐appreciated,

Children Toys–made of sponge Cassava crackers Papaya in syrup

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6. Borobudur Village



Distance, Travel Time Originating

from (a) Borobudur Temple, (b)

Village Hall, (c) UNESCO Gallery



UNESCO Gallery


Marketing Site

(48) Wooden Batik (Wood

products with batik decoration),

Mr. Basiyo, Bumisegoro

a. 3 KM, 10 minutes b. 500 m, 5 minutes c. 3 KM, 10 minutes

a. NNE (1.30 o’clock) a. NE (1 o’clock) a. NE (1 o’clock)

motorcycle Borobudur

(49) Wood Crafts, Mr. Purwanto, Bumi Segoro


a. NNE (1.30 o’clock) b. NE (2 o’clock)

c. NNE (1 o’clock) motorcycle - at his gallery

(50) Embroidery, Mr. Doyo Utama,

Bumisegoro

a. 3 KM, 10 minutes b. 1 KM, 5 minutes

c. 3 KM, 10 minutes

a. NNE (1.30 o’clock) b. NNE (1.30 o’clock)

c. NNE (1 o’clock) motorcycle Borobudur

*refer to the Map No. 1

The reasons for selecting the above 3 items are as follows: (48) Good commercial demand, economically sustainable (49) Unique wood products, economically sustainable, and good market demand (50) Authentic product, limited textile producers in Borobudur area with high percentage

of women involved in this industry (80% of the textile producers are women)

Wooden products with batik decoration Wood craft Embroidery

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7. Wanurejo Village





UNESCO Gallery



UNESCO Gallery


(56) Pensil Gaul (wooden pencil),

Mr. Purwanto’ Tingal Kulon


a. East (3 o’clock) b. West (9 o’clock) c. East (3 o’clock)

Motorcycle, car, public transports for the domestic

market and ship/airplane for

the exported ones

- Rumah Boedi Hotel

- Amanjiwo Hotel

- Yogyakarta - Bali - Surabaya - Jakarta - Exported to:

Spain, Korea, Holland and Australia

(57)Hand-drawn Batik,

Mrs. Lusiana, Tingal Kulon


a. North (12 o’clock) b. West (9 o’clock) c. East (3 o’clock)

motorcycle

- Rumah Boedi Hotel

- Pakelan, Magelang

- Sulawesi - Manohara

Hotel (58)Penthil Kucing

(rice snacks), Mrs. Khoirul

Hidayah, Tingal Kulon

a. 100 m, 2 minutes b. 1,5 KM, 5 minutes c. 8 KM, 10 minutes

a. West (9 o’clock) b. West (9 o’clock) c. East (3 o’clock)

‐ - Marketing at home


The reasons for selecting the above 3 items are as follows: (56) Innovative product, well‐established artisans’ network, and involving diverse

stakeholders within the local community (57) Technically competent batik artist with good business management and marketing

skills (58) Good quality product with regular production

Wooden Pencil Handmade Batik Rice Snacks

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8. Candirejo Village





UNESCO Gallery




(60)Stone craft, Mr. Tukiran,

Brangkal

a. 250 m, 2 minutes b. 3 KM , 5 minutes c. 9 km, 20 minutes

a. SSE (5.30 o’clock) b. NW (10 o’clock)

c. NW (9.30 o’ clock) motorcycle - Cilacap

- Palembang

(63) Tempuran (confluence of 3

rivers), Mrs. Wiwik B

a. 4 km, 15 minutes b. 1 km, 10 minutes c. 9 km, 20 minutes

a. NW (10 o’clock) b. (NNW) 11 o ‘clock c. West (9 ‘o clock)

motorcycle -

(67)Bamboo Craft, Mr. Sudiyanto,

Kaliduren

a. 100 m, 2 minutes b. 3 KM, 5 minutes c. 9 km, 20 minutes

a. NNE (1 o’clock) b. NW (10 o’clock)

c. NW (9.30 o clock) motorcycle - Borobudur

*refer to the Map No 1

The reasons for selecting the above 3 items are as follows: (60) Good local demand, economically sustainable, and abundant natural resources readily

available (63) Good vantage point (confluence of 3 rivers) with high potential for development of

outdoor activities such as rafting (67) Unique design and easy access to raw materials (bamboo)

Stone craft Tempuran (confluence of 3 rivers) Bamboo Craft

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9. Sambeng Village





UNESCO Gallery



UNESCO Gallery


(69)Beong fish, Mrs. Tarni, Gleyoran

a. 1,5 KM, 3 minutes b. 6 KM, 10 minutes c. 11 KM, 15 minutes

a. SE (4 o’clock) b. NW (10 o’clock)

c. SE (4 o’clock) motorcycle - At home

(74)Homemade T-shirt

Mr. Slamet Riyadi, Sambeng I


a. East (3 o’clock) b. NW (10 o’clock)

c. SE (4 o’clock) motorcycle - Borobudur

(75)Emping singkong (cassava

crackers), Mrs. Istiqomah,

Sambeng II



c. SE (4 o’clock) motorcycle - Surrounding

villages

*refer to the Map No 1

The reasons for selecting the above 3 items are as follows: (69) Authentic (beong fish is a unique species of fish available only in Progo River in

Borobudur), the taste is well‐appreciated by the market (74) Innovative product, limited number of textile producers in Borobudur area, high

percentage of women’s involvement (90% of the producers are women) (75) Innovative product (usually emping is not made of cassava), economically sustainable,

good market demand, and easy access to raw materials (cassava)

Beong fish Homemade T‐shirt Cassava crackers (emping)

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10. Bigaran Village





UNESCO Gallery




(76)Rengginang (rice snacks),

Mr. Hanafi, Bigaran

a. 600 m, 3 minutes

b. 10 KM, 20 minutes c. 12 KM, 30 minutes

a. SSW (7 o’clock)

b. SW (10.30 o’clock) c. SSE (5 o’clock)

Motorcycle - Surrounding villages

(77)Slondok (cassava snacks),

Mr. Matori, Serut

a. 300 m, 2 minutes b. 8 KM, 20 minutes

c. 12 KM, 1 hour

a. SSW (7 o’clock) b. NNW (11.30

o’clock) c. SSE (5 o’clock)

Motorcycle - Jagalan

Traditional Market

(78)Bamboo furniture,

Mr. Ahmad Makin, Bigaran

a. 1 KM, 5 minutes; b. 10 KM, 1 hour; c. 12 KM, 1 hour.

a. SE (4o’clock) b. NW (10.30 o’clock)

c. SSE (5 o’clock) Car

- Wates - Tempel - Ngluwar - Muntilan


The reasons for selecting the above 3 items are as follows: (76) Economically sustainable, good local demand and easy access to raw materials (rice) (77) Economically sustainable, good local demand and easy access to raw materials

(cassava) (78) Easy access to raw materials (bamboo)

Rice snacks Cassava snacks Bamboo furniture

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11. Kenalan Village


Producer/Sub-village



UNESCO Gallery



UNESCO Gallery


(84) Slondok (cassava snacks),

Mr. Y.Supardi, Wonolelo

a. 5 KM,10 minutes b. 14 KM, 30 minutes c. 13 KM, 30 minutes

a. NNE (1 o’clock) b. NW (10.30 o’clock)

c. SE (4.30 o’clock) motorcycle

- Jagalan Traditional Market

(86)Tikar Pandan (screw pinemat), Mrs. Budi Rahayu,

Mawung


a. NE (2 o’clock) b. NW (10 o’clock) c. SE (4.30 o’clock)

motorcycle

- Jagalan Traditional Market

- Rik – Rok Gallery

(88)Jathilan Dance,

Mr. Suroto, Gempal


a. NE (2 o’clock)

b. NW (10 o’clock) c. SE (4.30 o’clock)

car - Mr. Suroto’s gallery

*refer to the Map No. 1 for 84 and 86, Map No. 2 for 88 The reasons for selecting the above 3 items are as follows: (84) Indigenous community‐based product and unique to this region, produced by most of

the households in the village (200 households), and the main source of village economy

(86) Innovative product using locally available raw materials (screw pine). Pandan (screw pine) plantation on Menoreh hill also serve as a mean of mitigating landslide in the area

(88) Jathilan dance is an indigenous cultural performance of Borobudur area

Cassava snacks Screw pine mat Jathilan Performance

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12. Ngargogondo Village



Distance, Travel Time Originating from (a) Borobudur Temple, (b) Village Hall, (c) UNESCO Gallery

Location Direction in relation (a) Borobudur

Temple, (b) Village Hall, (c) UNESCO Gallery


Marketing Site

(92) Bamboo Mat, Bp. Sujadi , Parakan

a. 5 KM, 10 minutes b. 1 KM, 5 minutes

c. 6 KM , 10 minutes

a. NW (10 o’clock) b. West (9 o’clock) c. South (6 o’clock)

Motorcycle - At home

(95) BambooBasket, Bp. Suroto , Parakan


a. NW (10 o’clock) b. SSE (5 o’clock)

c. South (6 o’clock) Motorcycle - Bejen

(97) Emping Melinjo (chips made of gnetum gnenom fruit), Ibu Suyamti , Parakan


a. NW (10 o’clock) b. West (9 o’clock) c. South (6 o’clock)

Motorcycle - Borobudur - At home

*refer to the Map No. 1 The reasons for selecting the above 3 items are as follows: (92) High local demand (95) High local demand (97) Unique product with national demand

Bamboo mat Bamboo Basket Emping Melinjo snacks

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13. Majaksingi Village







(101) “Kuda Lumping Haswo Budoyo” dance performance, Bp. Hariyatno , Kiyudan& Karanggawang


a. North (12 o ‘clock) b. NE (2 o’clock)

c. SSW (7 o’clock) Car

- Borobudur - Pondok

TingalHotel - Tourist

Information Center

(104) Slondok Pedas(spicy cassava snacks), Bp. Suyoto, Keruk Munggang


a. NNW (11 o’clock) b. NNW (11 o’clock)

c. SSW (7 o’clock) Motorcycle

- Bawen - At home

(105) Wooden Mask, Bp. Nuryanto, Karanggawang


a. North (12 o’clock) b. North (12 o’clock)

c. SSW (7 o’clock) Motorcycle - At home

*refer to the Map No. 1 for 104 and 105, Map No. 2 for 101 The reasons for selecting the above 3 items are as follows: (101) Unique art performance specific to the region (104) Distinctive local product with a good local demand (105) Stable local demand (the mask is part of the costume for local art performance)

Kuda Lumping‐Horse Dance Spicy Cassava Snacks Wooden Mask

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14. Tuksongo Village







(106) Mie Soun (palm noodle), Ibu Mustafidah, Tuksongo II

2,5 KM, 5 minutes 1 KM, 2 minutes 3 KM, 5 minutes

12 o’clock 4 o’clock 7 o’clock

Motorcycle

- Borobudur - Kaliabu - Purworejo - Salaman

(110) Metal Mask (made of steel), Bp. Teguh Nur Ahman, Tuksongo I

1,5 KM, 5 minutes 1,5 KM, 5 minutes 3 KM, 5 minutes



(113) Topeng Ireng Kawedar (black mask performance), Bp. Suyito, Krajon

1,5 KM, 10 minutes 1 KM, 5 minutes

3 KM, 15 minutes


Car

- Semarang - Magelang - Borobudur

*refer to the Map No. 1 for 101 and 104, Map No. 2 for 105 The reasons for selecting the above 3 items are as follows: (101) High local demand and easy access to raw materials (palm) (104) Stable local demand (the mask is part of the costume for traditional local performances) (105) Traditional performance originated from Tuksongo Village since 1940’s and “Topeng Ireng Kawedar” is one of the remaining groups still performing this dance

Palm Noodle Steel Mask Black Mask Dance

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15. Tanjungsari Village







Cha (115) Tahu Mercon (spicy fried tofu), Bp. Aris P., Mendalan

a. 2,5 KM, 15 minutes b. 250 m, 3 minutes c. 2 KM, 10 minutes

a. NNE (1 o’clock) b. SSW (7.30 o’clock)

c. SSW (7 o’clock) Motorcycle

- At home - Muntilan

(119) Volcanic Ash Handicrafts, Bp. Kasmudi, Karang

a. 3 KM, 10 minutes b. 200m, 3 minutes c. 2 KM, 10 minutes

a. NNE (1 o’clock) b. SW 8.30 o’clock) c. SSW (7 o’clock)

Motorcycle

- Borobudur Temple

- Pawon Temple - Mendut

Temple

(120)Honey, Bp. Qosim Purnama, Brangkal

a. 3 KM, 10 minutes b. 20m, 1 minutes

c. 2 KM, 10 minutes

a. NNE (1 o’clock) b. NE (2 o’clock) c. SSW (7 o’clock)

Motorcycle, car, and other public

transport

- Surrounding Borobudur,

- Jakarta

*refer to the Map No. 1 The reasons for selecting the above 3 items are as follows: (115) Specific product of this region; (119) Indigenous product; successful home‐based enterprise (120) Good quality honey, good commercial potential

Spicy fried tofu Volcanic ash stupa Honey

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16. Karanganyar Village No.*/Product/

Name of the Producer/ Sub-village





Marketing Site

(122) Tofu,

Bp. Muh. Sokeb, Ngadiwinatan II

a. 3 KM, 5minutes b. 800 m, 2 minutes c. 2.5 KM, 5 minutes

a. NNE (1 o’clock) b. (NW (10 o’clock) c. North (12 o’clock)

Motorcycle - Muntilan

(123)Pottery, Bp. Supoyo,

Banjaran I (Klipoh)

a. 3 KM, 5 minutes b. 500 m, 2 minutes c. 500 m, 2 minutes

a. NE (2 o’clock) b. North (12 o

‘clock) c. NE (2 o’clock)

Car/Motorcycle

- Borobudur - At home

(125)Bamboo craft,

Bp. Suroyo, Ngadiwinatan)

a. 3.5 KM, 10 minutes b. 500 m, 2 minutes c. 500 m, 2 minutes

a. North (12 o’clock) b. NW (10.30

o’clock) c. NNE (1 o’clock)

Motorcycle - Borobudur

*refer to the Map No 1 The reasons for selecting the above 3 items are as follows: (122) High local daily demand (123) Good quality product, good demand, established networking between the artisans and popular tourist site (125) High local demand, well‐established product with a long production history in the region

Tofu Pottery Bamboo Craft

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17. Giritengah Village No.*/Product/


Distance, Travel Time Originating

from (a) Borobudur Temple, (b) Village

Hall, (c) UNESCO Gallery



UNESCO Gallery


Marketing Site

(128) Gethuk Asli Magelang (cassava snack, Bp. Agus Khanafi, Mijil

a. 4,5 KM, 10 minutes

b. 50m, 1 minutes c. 1 KM, 5 minutes

a. NNE (1 o’clock) b. SW (8 o’clock) c. East (9 o’clock)

Motorcycle - Magelang - Semarang - Yogyakarta

(132) Honey, Bp. Bambang, Ngaglik

a. 6 KM, 15 minutes b. 500 m, 5 minutes c. 1,5 KM, 5 minutes

a. North (12 o’clock) b. NW (10.30 o’clock)

c. NNW (11.30 o’clock) Motorcycle

- Magelang - Wonosobo - Kebumen - Bantul,

Yogyakarta - Bali

(133) Pos Mati Sunrise View, Bp. Wijarso, Kali Tengah


a. North (12 o’clock) b. SSW (7 o’clock) c. West (9 o’clock)

Motorcycle

*refer to the Map No. 1 The reasons for selecting the above 3 items are as follows: (128) High local demand, well‐established product with a long production history in the region (132) Good quality product with high commercial demand from both local and non‐local consumers (133) Historically significant site (it was a surveillance post used by one of the national heroes, Prince Diponegoro, between 1825‐1830), good vantage point

Gethuk Asli Magelang Honey Bee Pos Mati View

24

18. Giripurno Village No.*/Product/




UNESCO Gallery




Marketing Site

(134) Lengger Dance, Bp. Mujiran Miriombo Kulon

a. 9 KM, 15 minutes b. 1,5 KM, 5 minutes c. 8 KM, 15 minutes

a. West (9 o’clock) b. West (9 o’clock)

c. NW (10.30 o’clock) Car - Surrounding

villages

(137) ETTAWAGoat MilkSari Makmur, Bp. Tukidi , Miriombo Kulon

a. 9 KM, 10 minutes b. 1,5 KM, 5 minutes c. 8 KM, 15 minutes

a. West (9 o’clock) b. West (9 o’clock)

c. NW (10.30 o’clock) Motorcycle

- Muntilan - Borobudur

(139) Clove Leaf Distillation, Bp. Sukisno , Miriombo Kulon

a. 8 KM, 10 minutes b. 1 KM, 3 minutes c. 8 KM,10 minutes

a. NE (2 o’clock) b. NW (10 o’clock)

c. NW (10.30 o’clock) Motorcycle

- Purwokerto - Yogyakarta

*refer to the Map No. 1 for 137 and 139 , Map No. 2 for 134, The reasons for selecting the above 3 items are as follows: (134) Rare authentic traditional performance (137) Good local demand, potential of developing a goat milk production center (139) Unique clove‐leaf production, good non‐local market demand

Lengger Dance Ettawa Goat Milk Clove leaf destillation

25

19. Bumiharjo Village No.*/Product/




UNESCO Gallery



UNESCO Gallery


Marketing Site

(140) Bamboo Furniture, Ngafifudin, Sodongan


a. SSW (7 o’clock) b. South (6 o’clock) c. NNE (1 o’clock)

Car - At home

(142) Jenang Dodol (sticky rice pasta snacks), Bp. Arsono, Sigug


a. SSE (5 o’clock) b. NW (10 o’clock) c. NNE (1 o’clock)

Bicycle - Borobudur - At home

(144) Brown Sugar, Ibu Rahayu, Sodongan


a. South (6 o’clock) b. SSW (7 o’clock) c. NNE (1 o’clock)


*refer to the Map No. 1 The reasons for selecting the above 3 items are as follows: (140) Good quality local product with easy access to raw materials (bamboo) (142) Traditional local food which is produced using unique and traditional technique. (144) Traditional local food with good local demand

Bamboo furniture Sticky rice pasta snacks Brown sugar

26

20. Ngadiharjo Village No.*/Product/




UNESCO Gallery




Marketing Site

(145) Bamboo Furniture, Bp. Kodim , Karangtengah

a. 4 KM, 10 minutes1

b. KM, 3 minutes c. 2 KM, 5 minutes

a. East (3 o’clock) b. SSE (5 o’clock)

c. NW (10 o’clock) Car - Borobudur

(146) Gebleg Puthil(cassava snacks), Ibu Supriyanti, Bleder



c. NE (2 o’clock) Motorcycle - Surrounding

villages

(147) Bamboo Basket, Bp. Abdul Gofur, Karangtengah


a. East (3 o’clock) b. SSE (5 o’clock) c. NW (2 o’clock)

Motorcycle - Borobudur

*refer to the Map No. 1 The reasons for selecting the above 3 items are as follows: (145) Good quality product; easy access to raw materials (bamboo) (146) Established local product; (147) Good local demand

Bamboo Furniture Cassava Snacks Bamboo Basket

28

CHAPTER II ARTISAN BASELINE SURVEY

A. INTRODUCTION

Borobudur Sub‐district, located in Magelang Regency, Central Java, was selected to be the pilot site for an artisan needs assessment and participatory baseline survey. This sub‐district was selected mainly because Borobudur area faces tremendous challenges in improving the welfare of its communities. As mentioned in the previous section, it is clear that, even after the inscription of the Borobudur Temple Compounds (which is located in Borobudur Sub‐district) on UNESCO World Heritage Site list, the local community did not sufficiently benefit from tourism. This situation has been compounded by the impact of natural disasters, such as when Mount Merapi erupted in 2010. As a result of these factors, the income level of the communities in this area is well below that of the national average.

Borobudur Sub‐district Map

Table 1. Borobudur Sub‐district data

Total Area of Borobudur Sub‐district km2 54,55 Distance from the Sub‐district center to the Regency center km 4 Altitude m 235

Population (December 2012)

Men 26,511

Women 24,230 Total 50,741

GDP (2012) IDR 7,146,624 US$ 729

Average GDP/ Population Growth per Annum (2012) % 5.52

29

The survey was conducted in 20 villages within Borobudur Sub‐district between April

to June 2013. Some 100 artisans were involved in the survey. The selection of artisans was based on the following selection criteria: Priorities were given to female artisans in order to enhance gender balance, ensuring a

more balance perspective; Equal distribution of participation of interviewees from different handicraft and culinary

industries to represent opinions from all sectors; and Voluntary participation.

Numbers of artisans surveyed in 20 villages within Borobudur Sub‐district were as follows:

No. Villages No of

respondents

1 Kebonsari 10 2 Karangrejo 7 3 Tegalarum 7 4 Kembanglimus 4 5 Wringinputih 9 6 Borobudur 6 7 Wanurejo 3 8 Candirejo 4 9 Sambeng 5

10 Bigaran 4 11 Kenalan 4 12 Ngargogondo 6 13 Majaksingi 3 14 Tuksongo 5 15 Tanjungsari 4 16 Karanganyar 5 17 Giritengah 4 18 Giripurno 3 19 Bumiharjo 4 20 Ngadiharjo 3

Total 100

The artisans were classified into 8 groups based on their product types. These are: 1)

bamboo, 2) volcanic ash, 3) wooden craft, 4) batik textiles, 5) pottery, 6) cassava, 7) tahu-tempe (fermented soybean patty) and 8) others.

30

Figure 1. Crafts industries in Borobudur

Bamboo crafts (20%) and culinary products from cassava (18%) are the important traditional crafts industries. Tahu-tempe (soybean cakes), cassava snacks (18%) and other culinary products have the largest percentage (44%). Although volcanic ash, batik and pottery are minor actors in the industry (total of 9%), the sales value of these products are higher than the others because of their prices.

The followings are examples of products made from local materials: 1. Bamboo: pen, bracelet, necklace, furniture and other household equipment. 2. Volcanic ash: replica of relief and statues from the Borobudur Temple and household

equipment. 3. Wooden craft: pencil, furniture, etc. 4. Batik Textiles: clothes, sarong, shirt, scarves, T‐shirts, etc. 5. Clay: pots, vases, candle holders, ashtrays, lamp base, bowl, etc. 6. Cassava: slondok, keripik, lemet, and tape(local traditional snacks). 7. Soy‐beans‐based snacks: tofu and tempe (local traditional snacks) 8. Other fresh agricultural products: mushroom, fish, empingsnacks and other.

B. DETAILS OF THE SURVEY

Survey Methodology

The questionnaire was developed by Mr Joseph Lo in consultation with UNESCO Institute of Statistics (UIS) and other craft and survey agencies. The questionnaire was previously tested and implemented in other countries such as Bhutan, China and Mongolia. In order to adapt the questionnaire to suit the local context of Borobudur, a consultation and testing of the questionnaire was conducted in April 2013. Based on the results, the questionnaire was further fine‐tuned to conform and adhere to local situations and perspectives.

Bamboo20%

Volcanic Ash4%

Wooden Craft 9%

Batik Textile3%

Pottery2%Cassava Snack

18%

Tahu‐Tempe (Soybean

cake)10%

Other34%

0%

31

The execution of the survey was on a one‐to‐one interview with artisans based on the questionnaire. An initial sample survey was conducted to identify the indicators which were used to analyze the results.

The interviewers were trained to conduct the surveys. In order to ensure that the

survey results are credible and valid, other activities conducted during the interview sessions included reviewing the products, photo‐taking and requesting the artisans to demonstrate the process of making. These assisted in calibrating and validating the responses from the artisans..

C. FINDINGS and ANALYSIS OF THE SURVEY

C.1. General Condition Unique cultural traditions, natural and human resources are assets of the Borobudur

sub‐district area. The fertility of land provides a robust agro sector while the terrain facilitates easy access for collection of raw materials for local artisan communities. A diverse natural and cultivated vegetation of fruits, trees, food crops and plants, such as papaya, coconut, cassava, bamboo and white wood can be easily found and cultivated in this area. At the same time, traditional cultural ceremonies and local indigenous traditions are still practiced today.

The general finding of the survey is that crafts industry in Borobudur Sub‐district is

generally informal in nature. The ideas and inspiration for creation of craft design and products, capital, techniques, transmission of skills and promotion are mostly executed through artisans’ own initiative without any formal supports by neither the government nor other institutions.

The results from the survey paint a positive image of the industry as the current

cultural needs fuels demand which artisans and craft producers are able to maintain their business ventures. However, their current business model does not mitigate against future or unforeseen challenges or enables them to expand their marketing based beyond their current local threshold.

C.2. Profile of the Respondents

(1) A total 100 artisans participate in the survey, of which 76% were male and the remaining 24% were female producers.

32

Figure 2.1.1 Gender Percentages of Respondents

The age range of the respondents spanned from below 30 years of age to above 60. Most of the respondents were between the ages of 31 and 45, representing 56% of the total respondents. Respondents whose age is over 60 accounted for only 8% while those below 30 years were only 9%.

Table 2.1 Profiles of the Respondents Total

< 30 31

< 45 46

< 60 > 60

No. % No % No % No % No % Male 76 76 6 6 42 42 23 23 5 5

Female 24 24 3

3 14

14 4

4 3

3 Total 100 100 9 9 56 56 27 27 8 8

Average age: 44

Figure 2.1.2 Age structure of the artisans’ surveyed

(2) Among the respondents, there were : • 20 bamboo artisans (19 male and 1 female) • 4 volcanic ash artisans(4 male and 0 female) • 9 wood‐craft artisans(9 male and 0 female) • 3 batik artisans(2 male and 1 female) • 2 pottery producers (1 male and 1 female) • 18 cassava snacks producers (14 male and 4 female) • 10 soy‐based tofu and tempe producers (6 male and 4 female) • Other 34 producers in various culinary products

Female24%

Male76%

0% 0%

9%

56%

27%

8%

under 30

31 ‐ 45

46 ‐ 60

above 60

33

Table 2.2 Types of Craft Products and the Gender of the Producers

Craft Type Male Female Total Number % Number %

Bamboo 19 19 1 1 20 20 Volcanic Ash 4 4 0 0 4 4 Wooden 9 9 0 0 9 9 Batik Textiles 2 2 1 1 3 3 Pottery 1 1 1 1 2 2 Cassava Snacks 14 14 4 4 18 18 Tahu‐Tempe 6 6 4 4 10 10 Others 21 21 13 13 34 34 Total 76 24 100

Figure 2.2.1 Number of Respondents and Types of Craft Products

Figure 2.2.2 Male Respondents and Types of Craft Products

20

4

9

3 2 18

10

34

Bamboo

Volcanic Ash

Wooden

Batik

Pottery

Cassava snacks

Tahu‐tempe‐soy

Other

19

4

9

2 1

14

6

21

Bamboo

Volcanic Ash

Wooden

Batik

Pottery

Cassava snacks

Tahu‐tempe‐soy

Other

34

Figure 2.2.3 Female Respondents and Types of Craft Products

Education level of the artisans

(3) Among 100 respondents, 48% received primary education, 20% studied until secondary level, 25% obtained senior secondary education and those with undergraduate educated accounts for only 7%.

Table 2.3 Education Levels of the Respondents Education level Male Female Total No % No % No % No formal education Primary education 31 31 17 17 48 48

Junior secondary

education 17 17 3 3 20 20

Senior secondary/vocational

education 21 21 4 4 25 25

Undergraduate

education 7 7

7 7 Total 76 76 24 24 100 100

Figure 2.3 Education Levels of the Respondents

1

0 0

1 1

4

4

13

Bamboo

Volcanic Ash

Wooden

Batik

Pottery

Cassava snacks

Tahu‐tempe‐soy

Other

No formal education

0%Primary education

48%

Junior Secondary Education

20%

Senior secondary education

25%

Undergraduate education

7%0%

35

(4) Regarding the literacy rate, among the 100 selected respondents, 95% of them

were able to read Indonesian newspaper; 95% could write in Indonesian and 94% were able to read the scale (numeracy skill). A high rate of literacy is evident among the artisans, given the fact that they have experienced either formal or informal education.

Table 2.4 Literacy Rate of the Respondents (out of 100)

Number % Can read Indonesian

newspaper 95 95

Can read English newspaper 0 0

Can write in Indonesia 95 95 Can read scale 94 94

Figure 2.4.1 Literacy Rate of the Respondents (%)

Regarding the education level of the artisans, 32% respondents have obtained senior secondary education or above. Interestingly, the survey found that the income of the respondents who had received senior secondary education is 1.7 times higher than artisans with lower level of education.

0

10

20

30

40

50

60

70

80

90

100

Can read Indonesian newspaper

Can read English newspaper

Can write Indonesian

Can read scale

93

0

95 94

36

Figure 2.4.2 Relation between Education and Income Level (Referring to Table 2.4)

Family conditions of the respondents

(5) From Table 2.5 below, the family condition of the respondents can be elaborated. In average, artisan households consist of 4 persons (1 child and 3 adults). Like most of the families that live surrounding Borobudur, farming becomes one of their activities for income generation and all respondents stated that they own farm lands. The below table shows a comparison between the average local annual income and the artisans’ income (both from farming and crafts industries).

Table 2.5 Family Conditions of the Respondents ‐ US$

05000000

10000000150000002000000025000000300000003500000040000000

Below Senior Secondary Education

Senior Secondary

Education and Above

Rp. 23.947.647,‐(USD 1.976)

Rp. 39.381.563,‐(USD 3,249)

Average number of family members

Conditions of the Respondents

Average farm Average annual Average monthly Children Adults land areas income - US $ Income-US $

(m2)

Baseline: Local Average (as of 2012) 729 61

Bamboo producer 1 3 766 1,764

147

Volcanic ash artisan 1 3 453 5,204 434 Wood artisan 1 3 436 1,916 160 Batik maker 2 2 1287 6,551 546 Pottery maker 0 5 470 2,020 168 Cassava snacks producer 1 3 455 2,521

210

Tofu and tempe producer 2 3 589 3,043

254

Other 1 3 730 3,239 270

37

Comparison between Artisans’ Income and Local Average Annual Income Level (in US$)

(6) In general, artisans’ annual income is higher than local average income (IDR 7,146,624/USD 729). Bamboo artisans have the lowest annual income averaging at IDR 17,289,000 or US$ 1,764; yet this is 2.4 times higher than average local income IDR 7,146,624 (US$ 729). Batik artisans’ annual income is even higher at IDR 64,200,000 (US$ 6,551) or about 9 times higher than the local average income. As most craft industries are informal, artisans’ income is varied among different craft types and areas. For example, the producers of Gethuk Asli Magelang (Magelang cassava snack) earn 9 times higher than the average annual income of the other cassava snacks producers. On the other hand, the producers of bamboo basket earn 6 times lower than the average of the annual income of the other bamboo artisans. Different values and appreciation given to the products highly affect the income generation of the producers.

Table 2.6. Comparison of Annual Income between Artisans

ANNUAL INCOME IDR US $ Local Average 7,146,624 729 Textile (Batik) 64,200,000 6,551 Volcanic Ash 51,000,000 5,204 Other product 31,742,765 3,239 Soy based product 29,820,000 3,043 Cassava snacks 24,701,544 2,521 Pottery 19,800,000 2,020 Wooden craft 18,773,328 1,916 Bamboo Artisan 17,289,000 1,819 Note : Gethuk Asli Magelang 180,000,000 18,000 Bamboo basket 3,360,000 342

C.3. Social Capital and Satisfaction with Work and Life

(7) The majority of the respondents perceived that they are within the middle income bracket (63%), followed by 15% perceiving that they are from the higher middle

‐2,000 4,000 6,000 8,000

10,000 12,000 14,000 16,000 18,000 20,000

729 1,764

5,204

1,916

6,551

2,020 2,521 3,043

18,367

3,239

38

income bracket. Only 14% perceived that they belong to the lower income bracket. Only 8% of the respondents acknowledged that they belong to high income bracket.

Table 2.7 Self Assessment of Family Economic Status

Self assessment of economic status Number of respondents %

Low income

Below average 3 3

Bracket Middle 10 10

Above average 1 1

Middle income

Below average 25 25

Bracket Middle 38 38

Above average 15 15

High level income

Below average

Bracket Middle 7 7

Above average 1 1

Total 100 100

Figure 2.7 Artisans’ Perception of Their Income Status

(8) Livestock is one of the most important assets among the local community around the Borobudur sub‐district as it is an indication of wealth. Based on the survey, respondents possess the following livestock: chicken (30.9%), cattle (5.1%), duck (5.1%), fish (2.2%), sheep (20.6%) and rabbit (1.5%). However, a large minority of 34.6% do not own any.

Table 2.8 Types and Quantities of Livestock/Poultry (multiple answers)

Types Quantities Number of families owning such livestock/poultry Number %

Chicken 458 42 30.9

Cattle 11 7 5.1

Duck 56 7 5.1

14

63

158

0

10

20

30

40

50

60

70

Lower‐middle Middle‐middle Middle‐higher High

39

Fish 4,350 3 2.2

Sheep 140 28 20.6

Rabbit 49 2 1.5

No

livestock/poultry

47 34.6

Total 5,064 136 100

Figure 2.8 Number of Family Owning Livestock/poultry (multiple answers)

(9) The survey also highlighted the basic situation of craft production within the region. The result showed that a vast majority of the respondents were content and found their work fulfilling. Among the responses, 46.4% attributed to the increase of income and improvement of living standard after participating in the craft industry as the reason of contentment; 20.4% were involved in craft industry because they wanted to help others; 11.2% said that crafts is part of their traditional culture and livelihood. Other reasons given included being proud of their culture (2.6%), responding to high market demand (9.2%) and the remaining 4.6% citing that they were in the industry because it was convenient to obtain raw material. However, 3.1% of them stated that they did not like working in the craft industry sector because of its complicated nature of work and 0.5% (1 person) thought that there was no market demand for the product.

05

101520253035404550 42

7 73

28

2

47

40

Table 2.9 Contentment of Artisans When Producing Their Crafts (multiple answers)

Reasons (total answer: 196)

Number of respondents

selecting this reason

%

Increase income and

improve

living standards

91

46.4

Can help others

40

20.4

Can inherit traditional

culture

22

11.2

Proud of ethnic

culture

5

2.6 High market demand

18

9.2

Convenience in obtaining raw

9

4.6

materials

Love and fascination

2

1.0

Sense of self actualization

2

1.0

Not specified reasons

Reasons Number of respondents selecting

this reason %

Very difficult to make

0

0

Low profit margin/no

profit

0

0

Complicated processes

6

3.1

No market demand

1

0.5 Uninterested

0

0

(10) Most of the artisans (81% of the total respondents) were satisfied with their

products.

Table 2.10 Artisan Level and Reasons of Satisfaction on their product (multiple products)

81% of the respondents are satisfied with their products (multiple products)

Reasons of satisfaction

Number of respondents selecting this item

Raw materials 4

Design 2 Processes 4

Government support 2 Production 29

Price 51 Quality 64

Environment friendliness 0

41

24% of the respondents are not satisfied with their handicrafts products (multiple products)

Reasons of dissatisfaction


Poor sale

2

Low price

7

Limited output

2

Lack of access to raw materials

6

Low productivity

2

Lack of technical and business skills and knowledge

6

Lack of good design

Lack of access to capital

1

Poor Quality

11

Credit payment

(11) In terms of artisans seeking assistance from others to produce their products, 58.5% respondents said that they received help from their family members; while 25.2% respondents said that they have apprentices or workers to help them in the production of crafts, 4.8% received assistance from friends and 0.8% from the factory leader. 13% of the respondent said that they do not need any help in their production (they process the product by themselves).

Table 2.11 Assistance in the Production of Crafts

Helper of the respondents (Total Answers: 123)

Family Friends Government Masters

of Apprentices/ Factory Those

in

members employees handicraft worker Leaders no need

of help

No 72 6 0 0 31 1 13

% 58.5 4.8 0 0 25.2 0.8 10.6

Why they help (Total answers: 130) To fulfill family/social

responsibility To generate income To learn To play Unknown

handicraft their roles

as social/

traditional

community

leaders No 71 52

4 1 2

% 54.6 40 3.1 0.8 1.5

42

How the respondents reward their helper (Total answers: 103)

Mode of Pay Pay Pay To give No need to pay

Inability payment according to per according to handicraft for family/social

to pay

working piece produced profits made as pay relation time

No 20 35 4

35 9

% 19.4 34 3.9 34 8.7

(12) The survey found that on the average, artisans spend about 9 hours working every

day. However, at times, they only work a minimum of 1 hour to a maximum of 19 hours. Depending on the type of products, the average longest production duration is about 48 hours to produce one piece/unit of Batik textile. The minimum time to produce a craft is 0.01 minutes (to produce a bamboo pencil), and the maximum time is 8,400 minutes or 140 hours for extremely complicated and intricate design of Batik textile.

(13) 17% of respondents have regular holidays while others organize their day of

rest, depending on their workload and the amount of orders they have to fulfill.

Table 2.12 Statistics on the Respondents Working time Respondents Bamboo Volcanic Wooden Batik Pottery Cassava Tahu-tempe Other Total

Ash

snacks

Soybean cake

Average

Working time

/kg

/kg

Average working hour

per day 9 9 10 10 9 9 9 8 9

Shortest working hour per day

6 8 8 7 8 1 6 1 6

Longest working hour per day

13 12 12 15 10 15 15 19 14

Average working minutes required to make a piece

of handicraft

885 135 919 2,883 166 35 24 108 644

Shortest minutes required to make a piece

of handicraft

0.01 0.75 2.40 24 12 0.01 0.03 0.08 5

Bamboo Pencil Handmade Batik

43

Longest minutes required to make a piece

of handicraft

4,320 6,857 4,320 8,400 320 150 120 1,800 3,286

Respondents with regular holidays

3 0 0 1 0 3 2 8 17

Respondents without regular holidays

17 4 9 2 2 15 8 26 83

Although there are government regulations regarding the duration of work, the survey found that artisans are at their own liberties to declare their own working schedules.

Source of Capital for Production

(14) Regarding capital access and resources to finance their crafts business, 50% of the

artisans reported that they used their personal savings to fund their enterprises. 16.39% of the respondents revealed that they received loans from various institutions (unions, banks/government loan). 14.75% stated that their capital is derived from the sales of their products. 11.48% of the respondents recounted that they receive their capital from family and friends. 2.46% of the respondents do not need any capital because of the availability of materials from the natural environment. Only 3.28% of the respondents replied that they received support from the government.

Table 2.13 Sources of Funding for Crafts Enterprises (multiple answers)

Sources of funding (Total Answer: 122)

Number of respondents selecting this resources

%

Income from sales of products

18

14.7

Deposit and savings

61

50

Bank/credit union/government loan

20 16.4

Natural resources (no need to purchase raw materials)

3 2.5

Family and friends

14 11.5 Government support

4 3.3

(special funds)

Income from other jobs

2 1.6

Donation/assistance from foundations/organizations

44

Figure 2.13. Funding sources for crafts making ‐ %

0

10

20

30

40

50

14.6

50

16.4

2.511.5

3.3 1.6

Volcanic ash relief

Cassava peeling

Slondok Cassava snacks

Children wooden toys

45

C.4. Craft Skills Reflecting on the transmission of craft skills and knowledge, the respondents were allowed to give multiple answers to account how they obtained their skills. The study found that most of the artisans acquired their skills through self-training. As many as 37.2% respondents taught themselves; 16.5% of the respondents learned their crafting skills from their forefathers; 15.7% from friends and neighbors; 11.6% acquired their skills through other family members as part of their family traditions and 11.6% learned from formal channels (such as government training courses and vocational schools); 4.1% learned from crafts masters who are not related family members. Based on their feedback, it is evident that most of the crafting skills acquisitions were through informal channels. Apprenticeship training with their families (including forefathers) friends and masters would seem to be the most popular form of informal learning.

Table 2.14 Channels for Crafting Skills Acquisition (multiple answers) Number and percentage Bamboo Volcanic Wooden Batik Pottery Cassava Tahu-tempe Other Total

of respondents Ash snacks Soybean cake

selecting this No % No % No % No % No % No % No % No % No % item

Channels (Total Answer: 121)

Forefathers 2 1.7

1 0.8

2 1.7

2 1.7 2 1.6

11 9.0

20 16.5

Masters of handicrafts 2 1.7 1 0.8

2 1.6

5 4.1

Other family members 4 3.3

3 2.5

7 5.8

14 11.6

Folk tradition

1 0.8 1 0.8

1 0.8

3 2.5

Friends/neighbors 5 4.1

1 0.8

5 4.1 1 0.8

7 5.8

19 15.7 Government training courses/vocational 2 1.7

3 2.4 2 1.6 1 0.82 6 5.0 14 11.6

Schools

Self training 5 4.1

2 1.6

8 6.6

1 0.8

10 8.3 6 5.0

13 10.7

45 37.2

Factories 1 0.8

1 0.8

46

Figure 2.14. Channels for artisans to learn crafts skills

(15) Most of the artisans are open minded and are willing to exchange experiences and help others to acquire craft skills. 96% of respondents said that they are willing to pass on their craft skills and knowledge to others; only 4% were unwilling to transmit their skills (no specific reasons mentioned).

(16) Out of the 96%, most of them hope that by transmitting their knowledge to the next generation, 42.2% reasoned that by doing so, they are able to extend and preserve their cultural traditions. 20.6% felt that transmission of skills to others is an important means of assistance while 10.5% said that sharing of skills will help in the development of traditional crafts. 10% cited that transmission of skills will help improve the economic situation in the area and 9% of artisans interviewed stated that transmitting their skills will help them promote their handicraft products. In addition, 1.1% of the respondents stated that they will transmit their skills to others only if it is ordered by the government while 2.6% did not mention any specific reasons for their interest to share their skills.

The results prove that artisans are interested to share their crafts skills and knowledge as a means to preserve their cultural heritage and traditions. However, it has to be noted that there is still almost no formal system for artisans to undertake transmission of skills and resources to others.

16.5

4.1

15.7 11.6 11.6

37.2

10

5

10

15

20

25

30

35

40

47

Stone craft

Table 2.15 Reasons for the Transmission of Crafts Skills (out of 96% of the respondents who

stated their willingness to transmit their skills – multiple answers)

Reasons (Total Answer: 182)


%

For inheriting traditions 80 42.2 For helping others 39 20.6 For publicizing and promoting 17 9 their handicrafts

For developing traditional 20 10.5 Handicrafts For improving regional economy 19 10 For government orders 2 1.1 For unstated reasons 5 2.6

Figure 2.15. Why are you willing to pass on your skills to others?

(17) All respondents are willing to improve their craftmanship. The survey managed to identify different methods chosen by the artisans to improve their craftsmanship. 17.4% of them choose to learn from others while 25.5% wished to learn new techniques, tools and technologies to improve their production.

01020304050

By goverment

order

to improve regional

economy

to develop traditional

crafts

to promote crafts

to help others

to continue cultural tradition

1.110 10.5 9

20.6

42.2

48

Table 2.16 Methods for improving craftmanship (multiple answers)

Number and percentage

of respondents selecting this

item

Bamboo Volcanic Ash Wooden Batik Pottery Cassava

snacks

Tahu-tempe Soybean

cake Other Total

No % No % No % No % No % No % No % No % No %

Methods (Total Answer: 212)

Learn from others 8 3.8

1 0.5 4 1.9 2 0.9 1 0.5

9 4.2

2 0.9

10 4.7

37 17.4

Participate in training 6 2.8

1 0.5 5 2.4 2 0.9

4 1.9

1 0.5

6 2.8

25 11.8

Strengthening liaison 14 6.6

1 0.5 6 2.8 2 0.9 1 0.5

8 3.8

7 3.3

20 9.4 59 27.8 Learning from

masters ofhandicrafts 1 0.5

1 0.5 2 0.9 2 0.9 1 0.5 7 3.3 Learning new

techniques 14 6.6

1 0.5 6 2.8 3 1.4 2 0.9

8 3.8

3 1.4

17 8.0

54 25.5 Learning new tools and technologies 5 2.4

1 0.5 4 1.9 2 0.9 2 0.9

6 2.8

3 1.4

7 3.3 30 14.2

Figure 2.16 How to improve craftsmanship? (Number of respondents‐multiple answers)

(18) Referring to Table 2.13 below, the survey found out that all of the respondents

would like to receive some form of assistance to further develop their skills and knowledge. Based on the data, several types of assistance were identified. As many as 12% of the artisans hoped to understand and learn advanced skills and techniques; 13.4% would like to attend technical training related to their crafts;

37

54

25

7

30

59

0

10

20

30

40

50

60

70

Learning from others

Learning new techniques

Participating in training

workshop

Learning from masters

Learning to use new tools & technologies

Strengthening liaison

49

33 % wished to obtain economic support; 20.2% would like to obtain more market information to help them sell their products; 10.7% would like to receive training in design; 10.7% expressed the desire to participate in training courses relating to business management.

Table 2.17 Type of Assistance Required by the Producers (multiple answers) Number and percentage Bamboo Volcanic Wooden Batik Pottery Cassava

Tofu-tempe (Soybean Other Total

of respondents Ash snacks Cake)

selecting this No % No % No % No % No % No % No % No % No %

item

Type of Assistance (Total Answer: 224)

Advanced skills & technique 9 4 2 0.9

4 1.8 3 1.3 2 0.9

1 0.4 2 0.9

4 1.8

27 12

Economic support 18 8 1 0.4 4 1.8 1 0.4 0 0

14 6.3 8 3.6

28 12.5

74 33

Market information 10 4.5 2 0.9 4 1.8 3 1.3 0 0

8 3.6 3 1.3

15 6.7

45 20.2

Technical Training 8 3.6 2 0.9 2 0.9 2 0.9 2 0.9

6 2.7 1 0.4

7 3.1

30 13.4

Design Training 8 3.6 2 0.9 1 0.4 3 1.3 1 0.4

3 1.3 1 0.4

5 2.2

24 10.7

Business management training 6 2.7 1 0.4

2 0.9 2 0.9 2 0.9

3 1.3 2 0.9

6 2.7

24 10.7

Figure 2.17 What assistance do you need‐ %? (multiple answers)

(19) The findings showed that the majority of the crafters rely on their own resources and experiences to design products (24.5%). Other sources of inspiration for product designs are obtained through examining other traditional handicraft forms with specific reference on styles, design and patterns (15.3%). In addition they also respond to market demand when designing their products (8.7%).

12

33

13.410.7

20.2

10.7

0

5

10

15

20

25

30

35

Advance skills & techniques

Economic support

Technical training

Design training

Market Information

Financial Management

Training

50

Table 2.18 Current Source of Inspiration for Crafts Production and Design (multiple answers)

Number and percentage Bamboo Volcanic Wooden Batik Pottery Cassava Tahu-tempe Other Total



item

Conceptual sources (Total Answer: 241)

Local market demand 4 1.6 1 0.4 1 0.4 0 0 0 0 1 0.4 1 0.4 0 0 8 3.3

Self conception 12 5 4 1.6 6 2.5 3 1.2 1 0.4 11 4.6 4 1.6 18 7.5 59 24.5

Traditional styles 4 1.6 1 0.4 4 1.6 3 1.2 1 0.4 7 2.9 3 1.2 14 5.8 37 15.3

and patterns

Recommendation from 6 2.5 0 0 3 1.2 3 1.2 0 0 4 1.6 2 0.8 9 3.7 27 11.2

relatives and friends

Media 1 0.4 0 0 4 1.6 0 0 1 0.4 0 0 1 0.4 1 0.4 8 3.3

Government direction 0 0 0 0 0

0 0 0 0 0 0 0 0 0 0 0

Natural environment 2 0.8 0 0 1 0.4 3 1.2 0 0 5 2.1 1 0.4 5 2.1 17 7

Requirement from orders 11 4.6 3 1.2 6 2.5 1 0.4 2 0.8 3 1.2 0 0 7 2.9 33 13.7

Self learning/learning 3 1.2 0 0 7 2.9 0 0 1 0.4 2 0.8 0 0 6 2.5 19 7.9

from others

Mentoring of handicrafts 2 0.8 0 0 2 0.8 3 1.2 0 0 1 0.4 2 0.8 2 0.8 12 5

masters

Recommendation of 6 2.5 1 0.4 5 2.1 3 1.2 1 0.4 0 0 0 0 5 2.1 21 8.7

customers

Figure 2.18. Factors that affect the design concept of the craft products‐ %

3.3

15.3

24.5

13.711.2

0

5

10

15

20

25

30

Local market Traditional styles

Self concept Requirement from orders

Others

51

C.5. Craft Production Raw Materials

(20) The findings show that the raw materials needed for the communities to product

their products are easily available and accessible. Particularly noted are bamboo ampel, volcanic ash, batik, wood, cassava, soy based food, pottery and other local food. The interviewees said that they obtain the raw material from surrounding area or purchase them from local markets

Table 2.19 Statistic reflecting the challenges artisans face regarding the raw materials and their availability and access

Number of Not Difficult Raw respondents % Number of Materials selecting respondents Reasons

this item who said

yes

Bamboo Crafts

Bamboo Cendani 2 2 Purchased from Wonosobo

Bamboo Ampel 10 10

Harvested from the forest/surrounding area or purchased from Magelang/Kebonsari

1 1 Purchased within the neighbourhood

Bamboo Tutul 1 1 Purchased from Tempuran Bamboo Wulung 2 2 Purchased from Purworejo

1 1 Purchased from the neighborhood Bamboo Wulung 1 1 Purchased from the neighborhood

Bamboo Tutul 1 1 Purchased from the neighborhood Green bamboo 2 Purchased from the neighborhood Bamboo Apus 1 1 Purchased from Wanurejo

1 1 Purchased from Dusun Parakan 1 1 Purchased from Giritengah

Rattan 3 3 Purchased from Borobudur Market

1 1 Purchased from Yogyakarta

Accessories 1 1 Purchased from Borobudur Market

Key Steel holder 1 1 Purchased from Borobudur Market/Magelang

Synthetic pearl 2 2 Purchased from Magelang Pen filler 3 3 Purchased from Yogyakarta

Yarn 1 1 Purchased from Yogyakarta

1 1 Purchased from Borobudur Market

String 1 1 Purchased from Borobudur Market

Gombyokan 1 1 Purchased from Yogyakarta Synthetic rope 1 1 Purchased from Yogyakarta Chemical Dyes 1 1 Purchased from Yogyakarta

Furnish 1 1 Purchased from Yogyakarta

Volcanic Ash

Stone 2 2 Quarried from nearby Resin 4 4 Purchased from Yogyakarta

Catalyst 2 2 Purchased from Yogyakarta Chemical Dyes 2 2 Purchased from Yogyakarta

52


this item who said

yes

Silicon 4 4 Purchased from Yogyakarta Pigment 1 1 Purchased from Yogyakarta

Volcanic ash 3 3 Purchased from Muntilan Market Lime 1 1 Purchased from Yogyakarta

Casting 1 1 Self-made

Wood

Sengon wood 2 2 Purchased from Purworejo/Kembanglimus

White Wood 4 4 Purchased from Borobudur Market

Nangka wood 1 1 Purchased from Brongsongan Waru wood 1 1 Purchased from Brongsongan White wood 1 1 Purchased from Brongsongan

Sonokeling wood 1 1 Purchased from Brongsongan Randu wood 1 1 Purchased from surrounding area Pule wood 1 1 Purchased from surrounding area

Chemical dye 1 1 Purchased from Yogyakarta Wax 1 1 Purchased from Yogyakarta

Bamboo 1 1 Purchased from surrounding area

Pencil 1 1 Purchased from Beringharjo market in Yogyakarta

Rami 1 1 Purchased from Yogyakarta Jambe fruit 1 1 Purchased from Yogyakarta

Flannel 1 1 Purchased from Yogyakarta Nyamplung fruit 1 1 Purchased from Yogyakarta Debog (banana

tree) 1 1 Purchased from surrounding areas

Wood filler 2 2 Purchased from Borobudur Market

Fig Cree/polish 2 2 Purchased from Borobudur Market

Melamine 1 1 Purchased from Borobudur Market

Horse hair 2 2 Purchased from Jejeran Yogya

Batik

Chemical dye 1 1 Purchased from Yogyakarta VoilisimaFabric 1 1 Purchased from Bandung PrimisimaFabric 3 3 Purchased from Yogyakarta

Wax 2 2 Purchased from Yogyakarta Bamboo 1 1 Harvested from surrounding area

Chemical Dyes 2 2 Purchased from Yogyakarta Hanger 1 1 Self-made

Pottery

Clay 2 2 Purchased from other area & taken from the field

Clay for porcelain 1 1 Purchased from Sukabumi Padi's skin/sekam 1 1 Purchased from farmers locally

Sand-silica 1 1 Quarried from nearby

Cassava snacks

Cassava 14 14 Purchased from Borobudur Market

4 4 Purchased from Pasar Jagalan 3 3 Purchased from Wonosobo 2 2 Purchased from surrounding area 1 1 Purchased from Karangjati

Coconut oil 6 6 Purchased from Borobudur Market

53


this item who said

yes

1 1 Purchased from Candirejo Market 2 2 Purchased from Jagalan Market

Spice 5 5 Purchased from Candirejo Market 3 3 Purchased from Jagalan Market


Brown sugar 2 2 Purchased from Borobudur Market

Banana leaf 1 1 Purchased from the neighborhood

Cassava flour 1 1 Purchased from Borobudur Market

3 T Optimalizer yeast 1 1

Purchased from Borobudur Market

Coconut 2 2 Purchased from Borobudur Market

Nira/coconut water 1 1 Purchased from the neighborhood Wood for stove Purchased from the neighborhood


Sugar 1 1 Purchased from Borobudur Market

Wood for stove

1 1 Purchased from the neighborhood

1 1 Purchased from Wonosobo Central Java

Sugar 1 1 Purchased from Muntilan Vanilla essence 1 1 Purchased from Muntilan

Frambozen essence 1 1 Purchased from Muntilan

Plastic 1 1 Purchased from Muntilan Paper Box 1 1 Purchased from Jakarta

Tahu-tempe (soybean cake)

Soy bean


1 1 Purchased from Muntilan 1 1 Purchased from Tanjungsari

Sekam (padi’s skin) 1 1 Purchased from the neighborhood

Yeast 1 1 Purchased from Borobudur Market

Fermentation powder 2 2 Purchased from Borobudur

Market




Spices 1 1 Purchased from Borobudur Market

Wood for stove 3 3 Purchased from Wonosobo Other

Rempeyek Peanut 2 2


Snacks Rice flour 1 1 Purchased from Borobudur Market



Coconut oil 1 1


54


this item who said

yes

Beong fish

Beong fish 2 2 Purchased from Wonogiri (165 km away)


Coconut 1 1 Purchased from Kembanglimus Market



Mushroom

Mushroom 1 1 Purchased from Kopari and farmer

Flour 1 1 Purchased from Borobudur Market

Sweet soy sauce 1 1 Purchased from Borobudur Market

Bamboo stick 1 1 Purchased from Borobudur Market


Sagon lempit cake

Sticky rice 1 1 Purchased from Borobudur Market


Sugar,salt, vanilla 1 1 Purchased from Borobudur Market

Criping tales(taro chips)

Taro 2 2 Purchased from Muntilan Market

Salt 1 1 Purchased from Borobudur Market/Krasak


Rambak crackers


Rice flour 1 1 Purchased from Borobudur Market

Onion 1 1 Purchased from Borobudur Market

MSG 1 1 Purchased from Borobudur Market


Brown sugar

Coconut water 1 1 Taken from private land-field or buy from neighbor

Coconut water 1 1 Taken from private land-field

Coconut water 1 1 Purchased from Borobudur Market

Embroidery

Yarn 1 1 Purchased from Borobudur Market

Textile 1 1 Purchased from Borobudur Market

Zipper 1 1 Purchased from Borobudur Market

Papaya

Papaya 1 1 Purchased from surrounding area


Can/bottle 1 1 Purchased from Wonosobo Children toys from sponge

Sponge 1 1 Purchased from Yogyakarta Pressure

equipment 1 1 Purchased from Wringin putih

Cutter equipment 1 1 Purchased from Wringin putih

Risoles snacks


Vegetables 1 1 Purchased from Borobudur Market

55


this item who said

yes

Egg 1 1 Purchased from Borobudur Market



Margarine 1 1 Purchased from Borobudur Market

Penthil kucing snacks

Rice flour 1 1 Purchased from Borobudur Market


Peanut 1 1 Purchased from Borobudur Market

Cassava 1 1 Purchased from Borobudur Market



Pandan leaf Pandanus leaf 4 4 Harvested from surrounding area

T Shirt

Screen printing 1 1 Purchased from Yogyakarta Yarn 1 1 Purchased from Yogyakarta

Sweet Rengginang crackers

Sticky rice 1 1 Purchased from Jagalan market

Spices 1 1 Purchased from Jagalan market

Es pung (Ice Pung)


Hunkwee 1 1 Purchased from Borobudur Market



Emping Melinjo (chips)

Melinjo fruit 1 1 Purchased from Borobudur Market


Palm Flour Palm tree/Aren 1 1 Purchased from Purworejo

Steel mask

Steel plat 1 1 Purchased from Magelang Nail 1 1 Purchased from Magelang

Mie soon/ Palm noodle

Palm/Aren Flour 1 1 Purchased from Tuksongo Village Chlorine 1 1 Purchased from Magelang

Wood for stove 1 1 Purchased from Kalijambe

Honey

Bee 1 1 Purchased/ harvested from Borobudur and Wonosobo

1 1

Harvested from Sawangan and Magelang

Clove leaf Distillation

Clove leaf 1 1 Purchased from seller coming from

Borobudur and Samigaluh

Ettawa Goat milk

Goat

1

1

Purchased from Purworejo

Sticky rice cake

Coconut water/Nira 1 1 Harvested from private owned tree

Brown sugar 1 1 Harvested from private owned tree


Coconut milk 1 1 Purchased from Borobudur Market

56


this item who said

yes

Celery snacks



Spices 1 1 Purchased from Borobudur Market (1-5 km away)

(21) However, the findings also discovered that some of the materials are quite difficult to access. For example, small bamboo Cendani, which is a spotted bamboo and the coconut/arenga tree. One of the reasons is that these plants are not cultivated locally. Beong fish, a unique fish species from Progo River, is also difficult for the producers to harvest.

Table 2.20 Main Difficulties in Acquisition of Raw Materials

Raw Reasons for dissatisfaction Materials Bamboo crafts Bamboo Cendani Rare

Bamboo Tutul Old bamboo, difficult to find and rare Bamboo Wulung Insufficient stock of material

Green Bamboo

Difficult to find as it is getting rare Bamboos have a big size, therefore it is difficult to transport from the forest

Bamboo Apus

Heavy material Insufficient stock of material Difficult to find as it is getting rare Has to be purchased from Salaman

Rattan

Insufficient stock of material The price is getting more and more expensive as it has to be purchased from Kalimantan or Sulawesi

Synthetic pearl Expensive price Nylon Expensive price

Hammer Transportation to and from Yogya is difficult Furnish Transportation to and from Yogya is difficult Cat eyes Transportation to and from Yogya is difficult

Resin Transportation to and from Yogya is difficult Beflex/Bamboo

preservator Transportation to and from Yogya is difficult

Volcanic Ash

Stone Scarcity of good stones. Resin Transportation to and from Yogya is difficult

Catalyst Transportation to and from Yogya is difficult Coloring Transportation to and from Yogya is difficult

Silicon Pigment Transportation to and from Yogya is difficult

Wooden Pencil Orders should be made long time in advanced, as it is not ready to use

57

Raw Reasons for dissatisfaction Materials

Nyamplung fruit Has to be Purchased from Yogyakarta, seasonal

Pule wood Difficult to get, local myth of a sacred wood. There are other wood such as ‘taun wood’, but the quality is not equal to the main material

Textiles (Batik) Wax Poor quality Cassava

Cassava

Unstable stock and prices Inconsistent quality

Tofu Soy beans Unstable prices Criping tales(cassava chips) Taro Seasonal, manual cutting

Textile (T Shirts) Textile

Colors are not always available

Textile too thin for T‐Shirts Yarn Colors are not always available

Beong fish Beong fish Beong fish is specific fish species from Progo

River

Brown sugar Coconut water (badek) Seasonal condition leads to the unstable quality of the coconut water.

Mushroom Mushroom

Unstable stock and prices There are not many mushroom farming in the area, therefore producers have to find it from other areas

Palm Sugar Sugar palm Tree Difficult to find

Steel mask Steel plate Resources are more difficult to obtain

Mie soon/Palm noodle Palm flour Rare raw materials

Honey Honey

Unstable stock and prices) The production depends on the flowers growing on the Menoreh hills. During rainy season, it becomes more difficult to obtain flowers.

(22) Sustainability for Bamboo Cendani (small), Wulung (dark/purple), Tutul(spotted),

Arenga/Coconut are huge concerns because there are no plans for cultivation. One of the suggestions from honey producers is to cultivate the Kaliandra (a type of flower) in order to increase honey production in the hilly area.

58

Table 2.21 Sustainability, processing methods and seasonality of raw materials

Raw Sustainable Processing method Seasonal

Materials Yes No Mechanical Manual Yes No

Bamboo

Bamboo Cendani 1 1 1

Green Bamboo 1 1 1 Bamboo Apus 2 2 2

Bamboo 12 12 3 9 Bamboo Wulung 1 1 1

Bamboo Tutul 1 1 1 Nail 1 1 1

Furnish 1 1 1 Equipment 1 1 1 1 Pen filler 1 1 1

H2O2 1 1 1 Yarn 1 1 1

Synthetic pearl 2 2 2 Kerosene 1 1 1

Nylon 1 1 1

Volcanic Ash

Stone 1 1 1 Volcanic Ash 3 3 3

Silicon 1 1 1 Fiber/resin 1 1 1

Talc 1 1 1

Wood

Wood 6 2 3 5 Waru Wood 1 1 1 Pule wood 1 1 1

Randu wood 1 1 1 Nyamplung fruit 1 1 1

Wax 1 1 1 Chemical dye 1 1 1

Bamboo 1 1 1 Pencil 1 1 1 1

Flax-yarn 1 1 1 Jambe fruit 1 1 1

Flannel 1 1 1 String 1 1 1

Batik

Fabric 3 3 3 Wax 3 3 3

Canting(painting tool) 1 1 1

Stove 1 1 1 Chemical dye 1 1 1

Pottery

Clay 2 2 2 Padi's skin 1 1 1 Silica sand 1 1 1

Cassava snacks

Cassava 14 14 2 12 Wood for stove 2 2 2

Spices 3 3 3 Gethuk cake 2 2 2 Coconut oil 2 2 2

Coconut 1 1 1

59

Raw Sustainable Processing method Seasonal

Materials Yes No Mechanical Manual Yes No

Tahu-tempe (soybean cake)

Soy 9 9 9 Padi’s skin 1 1 1

Tofu 1 1 1 Flour 1 1 1

Spices 1 1 1 Coconut oil 1 1 1

Brown sugar Nira (coconut

water) 5 5 1 4 Pandanus craft Pandanus leaf 3 3 1 2 T-Shirt

Textile 1 1 1 Yarn 1 1 1

Screen printing 1 1 1 Beong fish Beong fish 2 2 2 Penthil kucing snacks Rice flour 1 1 1 Papaya Papaya 1 1 1 Sponge toys Sponge 1 1 1

Risoles snacks

Flour 4 4 4 Vegetables 1 1 1

Eggs 1 1 1 Coconut oil 2 2 2

Spices 1 1 1 Margarine 1 1 1

Ice Pung Coconut 2 2 2 Rempeyek snacks Peanuts 1 1 1 Mushroom Mushroom 1 1 1 Taro chips Taro 2 2 2 Sticky rice cake Sticky rice 1 1 1 Clove Leaf Distillation Clove leaf 1 1 1 Ettawa Goat Milk Goat 1 1 1 Honey Bees 1 1 1 Palm flour Aren/Palmtree 1 1 1 1 Steel mask Steel plat 1 1 1 Palm noodle Palm flour 1 1 1 Melinjo chips Melinjo 1 1 1

Costing of the Production

(23) Out of the 100 respondents, 96 said that they are able to calculate the cost of their products. Only 4 persons were not able to calculate the production cost. Significantly, they usually do not include their own labor cost when calculating their production cost of their products.

60

Table 2.22 Respondents ability to calculate price and production No % Can calculate costs 96 96 Can't calculate costs 4 4

(24) When they were asked about the degree of satisfaction in terms of the selling

price of their products, various answers were identified. On the one hand, the surveyed artisans mentioned several reasons that contribute to their contentment of their selling price. In total, 65.1% of the respondents answered that the selling price has brought them good sales. They also described how the price reflected fine craftsmanship and high quality of their products, which are appreciated by the customers. In sum, the good sales happened mainly because of the fair reflection between the price and the quality of the products. On the other hand, when they were asked to state their reasons of dissatisfaction, 34.2% of respondents revealed that no profits have been made as they have sold their products below cost. Also, one other voiced that despite of their low prices, there is still no market for their goods. Lastly, only 0.7% of the respondents were ambiguous on their response being neither satisfied nor dissatisfied.

Table 2.23 Reasons and Levels of Satisfaction in terms of selling price (multiple answers)

Reasons for satisfaction No % Good sales 52 34.9 Fine craftsmanship and high quality 22 14.8 Customers like the product, good credibility 23 15.4

Superb handicrafts skills and unique design

concept 0 0

In between 1 0.7 Reasons for dissatisfaction No % Low price, even lower than cost 46 30.9 Poor sales and no market 3 2 High labor cost 1 0.7 Unstable price and quality of raw materials 1 0.7 Relatively poor skills 0 0

Advertising and Promotion

(25) Regarding the channels of promoting artisan products in the region, most respondents (31.1%) felt that word‐of‐mouth is the most effective way of promoting their products. The rest of the artisans self‐promote their products (27.4%) while 14.5% relied on their family members and friends. Longevity in the market also helps in establishing good reputation and producers (10.9%) also use this form as a means of promotion. Finally, promotion through exhibitions to be organized in Borobudur and other area comprises 2.4% of the channel used by the artisans.

61

Table 2.24 Channels of Products Promotion (multiple answers) Number and percentage Bamboo Volcanic Wooden Batik Pottery Cassava Tahu-tempe Other Total



item

Channels (Total answers: 212)

Self promotion and marketing 11 5.2 1 0.5 6 2.8 1 0.5 1 0.5 10 4.7 6 2.8 22 10.4 58 27.4

Establishment of good reputation 2 0.9 2 0.9 0 0 1 0.5 1 0.5 4 1.9 4 1.9 7 3.3 21 9.9

Advertising through media 1 0.5 1 0.5 2 0.9 0 0 0 0 1 0.5 0 0 3 1.4 8 3.8

Longevity in market 7 3.3 2 0.9 0 0 1 0.5 0 0 4 1.9 4 1.9 5 2.4 23 10.9

Good word-of-mouth 13 6.1 2 0.9 4 1.9 2 0.9 2 0.9 14 6.6 6 2.8 23 10.8 66 31.1 Publicity through family

members 8 3.8 1 0.5 4 1.9 2 0.9 2 0.9 6 2.8 2 0.9 6 2.8 31 14.5

and friends

Local exhibition 0 0 1 0.5 2 0.9 2 0.9 0 0 0 0 0 0 0 0 5 2.4

(26) The majority of the respondents said that their customers usually obtain the

information about their products through good word‐of‐mouth from their families/other individuals, local retailers, and tourists.

Table 2.25 Respondents Perspective on How Customers Are Informed of

Respondents’ Products (multiple answers) Number and percentage Bamboo Volcanic Wooden Batik Pottery Cassava Tahu-tempe Other Total



item

Customers (Total answers: 180)

Other families/individuals 16 8.9 3 1.7 8 4.4 3 1.7 2 1.1 16 8.9 10 5.6 31 17.2 89 49.4

Government or SOE's 0 0 0 0 0 0 1 0.6 0 0 0 0 0 0 0 0 1 0.6

Contractors 0 0 0 0 1 0.6 0 0 0 0 0 0 0 0 1 0.6 2 1.1

Small enterprises 2 1.1 0 0 1 0.6 0 0 0 0 0 0 1 0.6 0 0 4 2.2

Local retailers 7 3.9 1 0.6 2 1.1 1 0.6 1 0.6 10 5.6 3 1.7 12 6.7 37 20.5

Tourist 8 4.4 1 0.6 4 2.2 2 1.1 1 0.6 5 2.8 2 1.1 10 5.6 33 18.3

Large enterprises 0 0 2 1.1 3 1.7 0 0 1 0.6 0 0 0 0 0 0 6 3.4

Exporters/overseas 2 1.1 2 1.1 2 1.1 0 0 0 0 0 0 1 0.6 0 0 7 3.9

purchasers

NGO's/International 0 0 0 0 0 0 1 0.6 0 0 0 0 0 0 0 0 1 0.6

organizations

Marketing and Sales

(27) The findings also showed the distance between crafts production site and point of sales. Based on the survey, it is also possible to observe the point of sales of different craft products. It can be seen in table 2.22 below, that a vast number of

62

craftsmen sold their products in local level. Home and local market dominated the answer with a total of 67.3%, while 32.7% of the respondents stated that they distribute their products based on orders which may cover non‐local market as well.

Table 2.26 Distance between Crafts Production Site and Point of sales (multiple

answers) Number and percentage Bamboo Volcanic Wooden Batik Pottery Cassava Tahu-tempe Other Total



Points of sales (Total answers: 260)

Home 16 6.1 4 1.5 9 3.5 3 1.1 2 0.8 18 6.9 10 3.8 33 12.7 95 36.5

Local market 14 5.4 3 1.1 6 2.3 3 1.1 2 0.8 15 5.8 8 3.1 29 11.1 80 30.8

Port cities 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Worldwide 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Distribution based on orders 9 3.5 4 1.5 9 3.5 3 1.1 2 0.8 17 6.5 9 3.5 32 12.3 85 32.7

Longest distance (km) 70

45

20

45

100

100

37

500.0

20.8

Time needed to reach(hour) 2

2

0.67

1

1.5

2

1.5

12.0

0.7

Shortest distance (km) 1

5

2

0.6

50

1

2

1.0

3.43

Time needed to reach(hour) 5

5

5

5

0.75

5

5

5.0

8

(minutes)

Average distance (km) 2

12

2.7

2.8

2.5

14

7.4

14.5

11.9

Average time needed (hour) 0.09

1

0.1

0.2

0.4

0.4

0.3

0.5

0.57

(28) 78.5% of the respondents do not encounter difficulties in marketing their products. They stated that their products are suitable for their target customers and that the sales for their products are good. However, 21.5% respondents said that they encountered many problems when marketing their goods. The difficulties are mainly in penetrating the markets as their products fail to meet the needs of customers. In addition, lack of labor in making and excessive supply are also some other difficulties faced by the artisans.

Table 2.27 Challenges and Reasons in Marketing Crafts (multiple answers)


of respondents Ash Craft snacks (soybean cake)


item Content (Total Answers: 130)

Encountered difficulty 7 7 2 2 3 3 3 3 1 1 3 3

9 9 28 21.5

Lack of Transportation

Government or other

intervention Lack of manpower to

sell 1 1

1 1

2 2

63

Market access difficulties 3 3

2 2 2 2

2 2

7 7 16 16

Excessive supply and low prices 2 2 2 2

1 1

5 5

Untrustworthy middlemen 1 1

1 1

2 2

Failure to meet the market demand

1 1

2 2 3 3

Low income of costumers

Encountered no difficulty 12 12

14 14 3 3 5 5 28 28 14 14 26 26 102 78.5

Products are suitable for 6 6 5 5 1 1 1 1 11 11 6 6 11 11 41 41

target market

Good transportation 2 2 4 4 1 1 3 3 3 3 4 4 17 17

Good demand 1 1 5 5 1 1 1 1 7 7 4 4 10 10 29 29 Trustworthy middlemen 3 3 1 1 1 1 7 7 1 1 1 1 14 14

Government support 1 1 1

Wooden Pencil

(29) In terms of sales of their products, 49% respondents (mostly bamboo artisans)

said that the demand for their products has not changed in the past 5 years. Adopting an opposing view, 37% respondents claimed that their markets have expanded in the past 5 years. 14% respondents said that the market demand for their products has shrunk in the past 5 years. As for the production quantity, in average, the monthly product output for all types of crafts is 1,807 units. Demonstrating the wide quantity range of goods produced, the batik products have a minimum monthly production of 241 pieces while the wood crafts have a maximum production of 2,107 units. The survey also discovered that the average monthly sale of the artisans is IDR 9,656,000 (US$ 986). The minimum average amount is IDR 4,781,000 (US$ 488) for bamboo artisans, while the maximum amount is IDR 17,353,000 (US$ 1,770) for wood‐craft artisans.

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Table 2.28 Respondents’ reflection on their markets in terms of Sales and Production Number and percentage Bamboo Volcanic Wooden Batik

Pottery Cassava Tahu-tempe Other

Total

of respondents

Ash

Craft

snacks

(soybean cake)


item

Content

Market

expanded in the 4 4 2 2 5 5 1 1 1 1 6 6 3 3 15 15 37 37

past 5 years

No market changes in 14 14 1 1 2 2 2 2 1 1 11 11 6 6 12 12 49 49 the past 5

years

Market

shrinkage in the 2 2 1 1 2 2

1 1 1 1 7 7 14 14

past 5 years

Unit Bamboo Volcanic Wooden Batik

Pottery Cassava Tahu-tempe Other

Total

Ash

Craft

snacks

(soybean cake)

Average output of

handicrafts product 2013

1037

2107

241

773

1802

5817

848

1807

per month

Maximum monthly output 30000

2100

10000

600

1500

9000

22500

6000

30000

Minimum monthly output 1

50

5

1.5

30

120

120

8

1

Average sales of

handicraft 4781

12108

17353

6083

6100

8492

12088

11423

9658 products

per months

(x1000 IDR)

Maximum monthly

sales 18000

22500

100000

13000

11750

15000

51000

58500

58500

(x1000 IDR)

Minimum monthly

sales 280

1750

1200

250

300

1620

1804

350

280

(x1000 IDR)

Packaging and Transport of Products

(30) The study found that plastic bags are the most common way of packing for most of the craft producers (67%). As shown below in Table 2.29, plastic bags were used by the food producers including cassava snacks, tahu‐tempe (soybean cake), and other fresh agricultural products. In addition, as much as 19% of the artisans said that their products do not have to be packed. This is especially true for bamboo and wooden products (e.g. furniture) as usually their products are large and they are transported directly without any packaging or by using rope to tie the product onto the vehicle. From the study that has been conducted, this

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research found that bamboo pen crafters need more help in packaging than bamboo furniture. Also, snacks, cassava and other culinary product still need assistance to improve their packaging as to add value and marketability.

Table 2.29 Mode of Packaging (multiple answers) Number and percentage Bamboo Volcanic Wooden Batik Pottery Cassava Tahu-tempe Other Total



item

Packaging methods (Total answers: 100)

Wooden boxes 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 Cartons 0 0 2 2 0 0 0 0 0 0 0 0 0 0 0 0 2 2

Brocade boxes 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 Papers/wood pulp 0 0 2 2 0 0 1 1 1 1 0 0 0 0 1 1 5 5

Plastic bags 8 8 2 2 2 2 3 3 0 0 16 16 10 10 26 26 67 67 Bamboo basket 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 1 1 1

Plate 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 1 1 1 Can/bottle 0 0 0 0 0 0 0 0 0 0 0 0 0 0 3 3 3 3

Rope 1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 1 Bamboo basket 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 1 1 1

No need to package 9 9 0 0 5 5 0 0 1 1 0 0 0 0 4 4 19 19

(31) Currently, respondents do not face any difficulties in packing their products.

Table 2.30 Challenges faced by Artisans when packaging their products




Reasons

Number of respondents with packaging difficulties 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Lack of packaging experience 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

Lack of labor 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 Lack of packaging

materials 1 2 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 2 High costs of packaging 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

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Borobudur Handicrafts

Payment Procedure

(32) Most of the respondents have no problem collecting payments from their

customers as most pay in cash (97%). Delay in payments only happen for those who sell their products to the hotels surrounding Borobudur; it usually takes about one month after the delivery of the products to receive payment. There are those that pay on consignment such as those that are done by the Batik producers. They have to promote their product and leave it in showrooms/shops in which the shop owners agree to showcase their products, and the payment will be done when the product have been sold; several similar cases also take place for one pottery and two cassava producers.

Table 2.28 Modes of Payment for the Artisans, Methods of Collection of Payments from Customers and Challenges


of respondents

Ash Craft

snacks

(soybean cake)


Content (Total answer:104) Modes of Payment from the Customers

Pay in cash 20

20 4

4

10

10 2

2 2

2

16

16 10

10

34

34

98

98

Fund transfer through 1

1 1

1

financial institutions

Group fund transfer

Indirect payment

through exchange of goods

Indirect payment through

exchange of labour

Arrears 1

1 1

1

1

1

2

2 5

5

67


of respondents

Ash Craft

snacks

(soybean cake)


Content (Total answer:104) Problems to pay suppliers/workers/creditors

Have difficulties in making payment

due to the following reasons:

No cash in hand

No financial resources

Tied deadline of payment 1 1

1

1

2

2

No order for products 1

1

1

1

Shortage of working capital

Have no difficulties in making payment

due to the following reasons:

Obtain loans in a timely

1

1

1

1

manner

Products on good sale 20 20 4

4

10

10 1 1 1 1 14 14 10

10

34

34 94 94

with good profit

Low cost of loans without interest

Customers pay in time 1 1 1 1

1

1

3 3

Exchange of goods/labour

to substitute monetary

payment

Payment will be done when the products are

sold 1 1 1

1 1 1 3

3

Problems in collecting payments from customers

Have no difficulties in

19

19 4

4

10

10 2 2 2

2

17

17 10

10

34

34 98

98

collecting payments in cash

Have difficulties in collecting payments due

to the following reasons:

Customers short of cash

1

1

1 1

2

2

Payment hits account late 1 1 1 1 1 1

1 1 4 4

Middleman unavailable

68

Clorot traditional snacks

D. KEY FINDINGS AND RECOMMENDATIONS

Work Areas Challenges Proposed Activities

Institutional setting

Lack of dialogue, coordination, and

development strategy from government and

institutions

1. To strengthen the dialogue and coordination among relevant government institutions via periodical meetings. To formulate an action plan focusing on the development of creative industries sector.

Lack of trade associations and intermediary agencies

2. Establish a regional craft association with linkages with local crafts association or cooperatives. To provide support programmes through these organizations to protect and develop producers/artisan group by providing training, capacity building activities and business development support, research and development, marketing and operation, supervision, management and service provisions. Affiliate local crafts associations with higher/national level crafts associations so as to obtain wider support and assistance. To create advisory groups (with inputs from various sectors such as tourism, chamber of commerce, government departments, etc.) to advise and guide regional crafts associations.

Human Resources

Not attractive to young people, limited career development potential

4. Advocate that culture‐based creative industry can be an effective tool to earn income in the form of entrepreneurship and create better skills‐standard quality framework and better linkage with design‐based careers that will attract more youth to work on the sector. Recognition programmes such as Master Artisan programme, crafts competitions, etc. be formed and publicized to add prestige and acknowledge craft skills. To introduce and expose school children to traditional crafts.

Difficulties in obtaining raw materials 5. To establish strategy for renewability of raw materials

To establish a quality framework for raw materials

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Work Areas Challenges Proposed Activities

Product and production

Low production capacities, non standardized management of

production and unstable quality

6. To promote healthy and safe means of production. To provide certification of expertise, knowledge and product quality by third party accreditation.

Design lacking diversity, character and poor

packaging

7. To build up consensus in terms of identifying and developing authenticity markers, regional and geographical characteristics and cultural identity for crafts and culinary products. To introduce professional training and standard to guide the artisans in working on their design. To provide mentoring assistance, according to the needs of each artisan. To formulate competitions as a means of developing and enhancing craft design, quality and standards.

Lack of branding

8. To strengthen market information analysis, create and build branding (based on geographical indicators, cultural/ authenticity markers) and widen publicity, promotions and marketing channels regionally and nationally. To formulate local brands and markers of authenticity with strict quality benchmarks based on artisan skills and knowledge standards and publicize local brands and marks at regional and national level

Marketing Difficulties in market

penetration

9. To strengthen market research and provide analysis to take stock of market/demand trends, foster and stimulate internal and external market demand, while giving priority to local markets with secondary emphasis on non‐local market.

10. It is necessary to prepare models of improved local product for non local market to promote Borobudur community's product.

Protection of traditional

crafts Crafts at risk

11. In line with the cultural heritage protection programme, provide emergency protection and recognition awards for old artisan and endangered craft practices. Establish documentation through digital record and archive for crafts skills and knowledge. Introduce traditional crafts, performances and culinary programmes into mainstream education.

12. Socialization and capacity building to encourage all community members in the area to develop their capacity in preserving their tradition and to find more potentials of their villages to be promoted to the visitors. Linkage with national crafts recognition programmes.

Recommendation 1: To strengthen the coordination among all stakeholders in the craft industries sector and develop strategies and action plan for development Initiate the formation of a regional association through the identification of craft, performance and culinary leaders/stakeholders with mandated authority to formulate, implement, coordinate and execute plans for development of creative industries. An advisory committee could be formed to guide this regional association. This advisory committee should comprise of members from a variety of sectors including government, trade associations, NGOs, producers, designers and retailers to provide input and advice to this association. Consultative meetings and coordination among stakeholders should be

70

organized, which will also involve the advisory committee. An action plan and overall strategies for short, medium and long term to develop crafts industry needs to be drafted by involving all relevant stakeholders and received feedback from the Advisory Committee. The implementation of the strategies and action plan should be conducted in a coordinated manner among all stakeholders followed by a monitoring and evaluation of the implementation. Recommendation 2: To expand the network and linkages between producers and different stakeholders The craft industries in Borobudur area is dominated by self‐employed persons and micro businesses. For the industry to grow, it is important to strengthen the network and linkages between the producers and different stakeholders ranging from government and business entities (travel agents, hotels, restaurants, etc). Establishing linkages with other craft associations (at national levels) and institutes (design/vocational institutes) as well as designers will enrich the craft skills and capacities of the producers. Establishing marketing linkages with regional, national and international agencies as well as tourism and hospitality industry will help the producer to channel their business in the wider network and therefore sustained.

Recommendation 3: To increase craft skills, business skills and talents development on creative industry The survey found that most of the artisans acquired their skills through self-training. The survey results prove that artisans are interested to share their crafts skills and knowledge as a means to preserve their cultural heritage and traditions. However, it has to be noted that there is still almost no formal system for artisans to undertake transmission of skills and resources to others. The survey also found that artisans are in need of the following trainings:

o Product development and design; o Business planning, management and monitoring; o Production management, monitoring and quality control (including health and

safety working environment); o Artisans’ design rights.

The artisans are willing to increase their craft skills through both informal and formal systems. Formal systems could include the development of a training curriculum and mainstreaming of traditional artisan skills into current education and vocational system. Informal systems could include establishing mentoring system with professional craft designers or design institution to support the product design and development. It is also important to support the creative and talented young people by offering apprenticeship and mentoring to help them develop their craft skills and set up their own business. Besides craft skill‐based training, other types of trainings should also be offered such as entrepreneurial and business management trainings as well as production management trainings to support the commercial development of this sector. The establishment of skills

71

quality standards is also important to ensure that the artisans have the required skills, knowledge and techniques to meet the quality that is expected by the consumers. A dialogue should be conducted to articulate markers of authenticity including special geographical characteristics and cultural skills to root, promote and differentiate products made in this area. The results of this exercise could be the foundation of geographical indicators and branding for used in product development, promotion and branding. UNESCO has been proactively developing skills and knowledge for pottery and fruit jam. The results have been proven with sufficient standard and quality. Following the pottery and fruit jam products, there are still many product qualities that need to be improved in the future, including the products that are authentic/indigenous from the region such as bamboo and batik. Skill and knowledge development can be done with the support of various relevant stakeholders in order to create a standard that can be used to avoid lack of diversity and to sustain their competitiveness against different artisans from different areas. Recommendation 4: To establish strategy for renewability of raw materials The survey found that there is no system to renew and manage the regeneration of certain bamboo tree e.g. bamboo cendani, bamboo tutul, bamboo wulung, arenga palm tree. Those raw materials are the main ones yet have to be bought from other districts. Establishing renewal programmes for such raw materials should be formulated and implemented. Dialogue and discussion with land authority as well as relevant government partners should be conducted to ensure the renewability of raw materials. Development of quality standards for raw materials could also be formulated in order to set quality benchmarks for raw materials which will impact upon the products’ quality benchmarks. Recommendation 5: To raise awareness on the importance of healthy and environmentally friendly working environment In some industries, there is lack of awareness among the artisans on the importance of healthy and environmentally friendly working environment. For example, volcanic ash artisans were not aware on the danger of the chemical used and inhaling of ash particles during production. Hence, they do not wear any mask when working. Another example is of the palm flour wastes that were not collected in special area, covering the drainage and caused local flood in rainy season. Further example is the disposal of dyed water for batik making without proper treatment. The survey also found out that in tofu and flour production sites, health and environment conditions were poor which could also affect the quality of the product when consumed. It is therefore important to raise awareness on the importance of healthy and environmentally friendly working environment through advocacy, publications, meetings, workshops and seminars. Recommendation 6: To enhance marketing, brand awareness and the use of publicity and promotion to build up brand images

72

Establishment of a collective brand could be further linked after certification of quality and also authenticating the origin of product. These steps should be developed because of the informal crafts’ need of industrial formalizations to establish a brand. The report recommends establishing or strengthening local brands by developing and supporting various branding efforts such as certification of crafts’ origin, stores, enterprises and communities for promotional and marketing purpose. The brand, through local crafts or trade associations, can be linked to national crafts or trade associations to obtain the marketing networks, platforms and entities. This includes organizing local festivals and crafts fairs and participating in regional, national and international crafts festivals and fairs. The establishment of its authenticity in the eyes of outsiders is very important and relevant. The external market is somewhat different from the internal local market in terms of the products forms and function, but costumers need to be reassured about the authenticity. Another concern that should be raised is artisan’s design rights, for only some of them are aware of it. This is especially pertinent concerning the product design, where there are many producers producing handicrafts with similar designs. It is very important for public and artisans to know about the value of authenticity and respect this need. Authenticity could be manifested through programmes and activities such as quality benchmarks, certification of origin, competitions and Master artisan programmes. Establishing a system of certifying the authenticity and origin of crafts products is very important in terms of marketing and adding value to the craft products. The other important development for brand image is through packaging, especially when expanding into non‐traditional markets. Recommendation 7: To strengthen the safeguarding and inventory of traditional cultural activities Ethnic crafts should maintain their vitality and validity through the internal local demands. Therefore, the internal supply and demand of craft products depend on the continuous practices of traditional cultural activities in terms of their characteristics, relevancy, identities and aesthetic value of the ethnic groups. Hence, the overall macro fabric of culture and traditions must also be protected, conserved, developed and promoted. Another sphere of development is to identify and document local culture resources to help sustain the continuous development of this industry. These local and unique resources such as crafts knowledge, skills, local performances should be safeguarded and used by integrating them into the community’s daily life while encouraging innovation and development to ensure relevancy. Traditional performances are also part of the development of culture tourism. Therefore, it is important to preserve the practice within the society. Almost all villages have preserved their traditional performances, such as dayakan/topeng ireng (black mask dance), jathilan dance, pitutur/sholawatan, kethoprak (Javanese traditional theater), and wayang kulit (Javanese shadow puppet). Traditional crafts and arts need to be recorded and safeguarded. One of the most important works is to record the resources, knowledge, skills and the work processes of old artisans.

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Documentation and inventory could be in the form of audio visual recording, illustrated manuscripts, training and apprenticeship, etc. Significantly, these documented resources should be made available and accessible to all (communities, stakeholders, academics, etc.) so as to contribute to the continuous development of the cultural industries in the Borobudur area.

Shadow Puppet

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Wanurejo Annual Parade 18 May 2013

borobodur cultural mapping report and artisan baseline...

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