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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. 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 - 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
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
(13) Jet Koled(cassava crackers),Mr.
Mukiban,Kretek II
a. 2 KM, 10 minutes b. 1 KM, 5 minutes c. 3 KM, 10 minutes
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. 200 m, 2 minutes b. 1 KM, 5 minutes c. 3 KM, 10 minutes
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
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
(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)
c. North (12 o’clock)
car - Salaman
(23) Bamboo Craft, Mr. Supandi,
Susukan
a. 100 m, 2 minutes b. 3 KM, 10 minutes c. 7 KM, 20 minutes
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. 100 m, 2 minutes b. 5 KM, 10 minutes c. 7 KM, 20 minutes
a. East (3 o’clock) b. East (3 o’clock)
c. North (12 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
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 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. 50m, 1 minutes b. 4 KM, 5 minutes c. 8 KM, 20 minutes
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. 500 m, 3 minutes b. 3 KM, 5 minutes c. 8 KM, 20 minutes
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
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 Marketing Site
(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
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
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. 3 KM, 10 minutes b. 2 KM, 10 minutes c. 3 KM, 10 minutes
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
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 Marketing Site
(56) Pensil Gaul (wooden pencil),
Mr. Purwanto’ Tingal Kulon
a. 100 m, 2 minutes b. 1 KM, 5 minutes c. 8 KM, 10 minutes
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. 200 m, 4 minutes b. 1 KM, 5 minutes c. 8 KM, 10 minutes
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
*refer to the Map No. 1
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
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 Marketing Site
(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
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 Marketing Site
(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. 300 m, 2 minutes b. 6 KM, 10 minutes c. 11 KM, 15 minutes
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
a. 100m, 2 minutes b. 6 KM, 15 minutes c. 11 KM, 15 minutes
a. East (3 o’clock) b. NW (10 o’clock)
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
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 Marketing Site
(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
*refer to the Map No. 1
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
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 Marketing Site
(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. 400 m, 2 minutes b. 14 KM, 15 minutes c. 13 KM, 30 minutes
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. 3 KM, 5 minutes b. 9 KM, 20 minutes c. 13 KM, 30 minutes
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
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 (a) Borobudur
Temple, (b) Village Hall, (c) UNESCO Gallery
Mode of Transportation
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. 1 KM, 5 minutes b. 2 KM, 5 minutes c. 6 KM, 10 minutes
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. 3 KM, 5 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 - 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
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 Marketing Site
(101) “Kuda Lumping Haswo Budoyo” dance performance, Bp. Hariyatno , Kiyudan& Karanggawang
a. 3 KM, 10 minutes b. 500 m, 2 minutes c. 5 KM, 10 minutes
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. 18 KM, 45 minutes b. 15 KM, 40 minutes c. 5 KM, 10 minutes
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. 2 KM, 15 minutes b. 500 m, 2 minutes c. 5 KM, 10 minutes
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
20
14. Tuksongo 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 Marketing Site
(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
12 o’clock 6 o’clock 7 o’clock
Motorcycle - At home
(113) Topeng Ireng Kawedar (black mask performance), Bp. Suyito, Krajon
1,5 KM, 10 minutes 1 KM, 5 minutes
3 KM, 15 minutes
12 o’clock 3 o’clock 7 o’clock
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
21
15. Tanjungsari 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 Marketing Site
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
22
16. Karanganyar 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
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
23
17. Giritengah 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
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. 5 KM, 10 minutes b. 2 KM, 5 minutes c. 1 KM, 5 minutes
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/
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
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/
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
Marketing Site
(140) Bamboo Furniture, Ngafifudin, Sodongan
a. 3 KM, 10 minutes b. 2 KM, 8 minutes c. 8 KM, 15 minutes
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. 1 KM, 15 minutes b. 1 KM, 15 minutes c. 8 KM, 45 minutes
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. 2 KM, 5 minutes b. 1 KM, 5 minutes c. 8 KM, 15 minutes
a. South (6 o’clock) b. SSW (7 o’clock) c. NNE (1 o’clock)
Motorcycle - At home
*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/
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
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
a. 5 KM, 15 minutes b. 500 m, 2 minutes c. 2 KM, 5 minutes
a. East (3 o’clock) b. NW (10 o’clock)
c. NE (2 o’clock) Motorcycle - Surrounding
villages
(147) Bamboo Basket, Bp. Abdul Gofur, Karangtengah
a. 4 KM, 10 minutes b. 1 KM, 3 minutes c. 2 KM, 5 minutes
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
27
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
Number of respondents selecting this item
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)
Number of respondents selecting this item
%
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
of respondents Ash snacks Soybean cake
selecting this No % No % No % No % No % No % No % No % No %
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
Number of Not Difficult Raw respondents % Number of Materials selecting respondents Reasons
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
Number of Not Difficult Raw respondents % Number of Materials selecting respondents Reasons
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
5 5 Purchased from Borobudur 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
Banana leaf 1 1 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
9 9 Purchased from Borobudur Market
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
Coconut oil 3 3 Purchased from Borobudur Market
Banana leaf 2 2 Purchased from the neighborhood
1 1 Purchased from Borobudur Market
Spices 1 1 Purchased from Borobudur Market
Wood for stove 3 3 Purchased from Wonosobo Other
Rempeyek Peanut 2 2
Purchased from Borobudur Market
Snacks Rice flour 1 1 Purchased from Borobudur Market
Coconut 2 2 Purchased from Borobudur Market
Spices 1 1 Purchased from Borobudur Market
Coconut oil 1 1
Purchased from Borobudur Market
54
Number of Not Difficult Raw respondents % Number of Materials selecting respondents Reasons
this item who said
yes
Beong fish
Beong fish 2 2 Purchased from Wonogiri (165 km away)
Spices 1 1 Purchased from Borobudur Market
Coconut 1 1 Purchased from Kembanglimus Market
Coconut oil 1 1 Purchased from Borobudur Market
Brown sugar 1 1 Purchased from Borobudur 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
Sugar 1 1 Purchased from Borobudur Market
Sagon lempit cake
Sticky rice 1 1 Purchased from Borobudur Market
Coconut 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
Spices 1 1 Purchased from Borobudur Market
Rambak crackers
Flour 1 1 Purchased from Borobudur Market
Rice flour 1 1 Purchased from Borobudur Market
Onion 1 1 Purchased from Borobudur Market
MSG 1 1 Purchased from Borobudur Market
Coconut oil 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
Sugar 1 1 Purchased from Borobudur Market
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
Flour 3 3 Purchased from Borobudur Market
Vegetables 1 1 Purchased from Borobudur Market
55
Number of Not Difficult Raw respondents % Number of Materials selecting respondents Reasons
this item who said
yes
Egg 1 1 Purchased from Borobudur Market
Coconut oil 3 3 Purchased from Borobudur Market
Spices 2 2 Purchased from Borobudur Market
Margarine 1 1 Purchased from Borobudur Market
Penthil kucing snacks
Rice flour 1 1 Purchased from Borobudur Market
Coconut 1 1 Purchased from Borobudur Market
Peanut 1 1 Purchased from Borobudur Market
Cassava 1 1 Purchased from Borobudur Market
Sugar 1 1 Purchased from Borobudur Market
Coconut oil 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)
Cassava flour 1 1 Purchased from Borobudur Market
Hunkwee 1 1 Purchased from Borobudur Market
Coconut 1 1 Purchased from Borobudur Market
Brown sugar 1 1 Purchased from Borobudur Market
Emping Melinjo (chips)
Melinjo fruit 1 1 Purchased from Borobudur Market
Spices 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
Flour 1 1 Purchased from Borobudur Market
Coconut milk 1 1 Purchased from Borobudur Market
56
Number of Not Difficult Raw respondents % Number of Materials selecting respondents Reasons
this item who said
yes
Celery snacks
Flour 1 1 Purchased from Borobudur Market
Cassava flour 1 1 Purchased from Borobudur Market
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
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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.
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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
of respondents Ash snacks Soybean cake
selecting this No % No % No % No % No % No % No % No % No %
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
of respondents Ash snacks Soybean cake
selecting this No % No % No % No % No % No % No % No % No %
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
of respondents Ash snacks Soybean cake
selecting this No % No % No % No % No % No % No % No % No % item
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)
Number and percentage Bamboo Volcanic Wooden Batik Pottery Cassava Tahu-tempe Other Total
of respondents Ash Craft snacks (soybean cake)
selecting this No % No % No % No % No % No % No % No % No %
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.
64
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)
selecting this No % No % No % No % No % No % No % No % No %
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
65
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
of respondents Ash snacks Soybean cake
selecting this No % No % No % No % No % No % No % No % No %
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
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
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
Number and percentage Bamboo Volcanic Wooden Batik Pottery Cassava Tahu-tempe Other Total
of respondents
Ash Craft
snacks
(soybean cake)
selecting this No % No % No % No % No % No % No % No % No % item
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
Number and percentage Bamboo Volcanic Wooden Batik Pottery Cassava Tahu-tempe Other Total
of respondents
Ash Craft
snacks
(soybean cake)
selecting this No % No % No % No % No % No % No % No % No % item
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
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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
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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