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
Female Male 24%
76%
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 Number Male % Number Female % Total
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 10 18
34
Bamboo Volcanic Ash Wooden Batik Pottery Cassava snacks Tahu‐tempe‐soy Other
19
4 9
1 2 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 Primary 0%
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$
50000000
Conditions of the Respondents 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
15
8 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 1015 2025 3035 4045
50 42
7 7
3
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
handicraft of
885 135 919 2,883 166 35 24 108 644
Shortest minutes required to make a piece
handicraft of
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
handicraft of
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
2.5
11.5
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)
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
1 0
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.
0 10 20 30 40 50
goverment By order
to improve regional economy
to develop traditional
crafts
to promote
crafts to help
others to continue cultural tradition 1.1
10 10.5 9
20.6
42.2
48
Table 2.16 Methods for improving craftmanship (multiple answers)
Number and
Bamboo Volcanic
Ash Wooden Batik Pottery Cassava 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
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
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
& techniques Economic
support Technical
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
13.7 11.2
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
Harvested from the forest/surrounding area or purchased from
52
market in Yogyakarta
Rami 1 1 Purchased from Yogyakarta PrimisimaFabric 3 3 Purchased from Yogyakarta
Wax 2 2 Purchased from Yogyakarta
taken from the field
Clay for porcelain 1 1 Purchased from Sukabumi
53 Wood for stove
essence 1 1 Purchased from Muntilan
Plastic 1 1 Purchased from Muntilan
9 9 Purchased from Borobudur
Market
powder 2 2 Purchased from Borobudur
Market
54
buy from neighbor
Coconut water 1 1 Taken from private land-field
55
Spices 1 1 Purchased from Jagalan market
Es pung (Ice
Spices 1 1 Purchased from Borobudur
Market
Borobudur and Wonosobo
1 1 Harvested from Sawangan and
56
(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
(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