Development of Production Creativity among Craftsmen by Identifying Techniques for Characterizing Coconut Waste

Abstract

The development of production creativity in handicraft micro-enterprises requires technical support. The primary mode of support is to identify the characteristics of the raw materials that make product design appear more creative, variation, and artistic. A right quality product can potentially increase profits. This knowledge transfer process has altered the behavior of craftsmen in Java, encouraging them to adopt coconut waste as a raw material. The location of this study was Purbalingga Wetan, Purbalingga District, Central Java Province. The study design was based on a participatory rural appraisal (PRA), with the application of both qualitative and quantitative approaches. It was found that the ability of respondents to identify coconut waste characteristics was crucial to improving product quality. The number of skilled respondents applying the technique increased significantly. The skilled respondents were able to identify traits based on the age, color, fiber pattern, visual form, thickness, texture, and fragility of coconut wood or shell. An understanding of all of these characteristics was essential to improve product quality. Skilled craftsmen choose good coconut waste can produce quality handicraft products. Quality handicrafts are produced with a variety of distinctive and artistic designs and motifs. The selling value of higher quality handicraft products significantly increases the income of craftsmen. The motivation and ability of craftsmen in the technique that identifies the characteristics of coconut waste needs to be continuously developed intensively. These efforts can be made through the willingness of craftsmen to share experiences. Another way is to increase the participation of craftsmen in training and demonstration of the characteristics of coconut waste as raw material for quality handicrafts.

Empowerment of Subsistence Craftsmen through the Adoption of Environmentally Friendly Cocodust Production Technology

“…Craftsmen process coconut waste into various design plans for cococraft motifs. The type of design and cococraft motifs are adjusted according to market trends [32]. Although they obtained small incomes, many respondents still maintained cococraft micro-businesses as their basic livelihood pattern.…”

Designing Knowledge Management System for Supporting Craftsmen’s Collaboration beyond Temporal Boundaries

“…The majority of Asian countries kept their traditional ways rather than collaborating and establishing a formal educational environment for craft techniques [6,10]. Consequently, many craft techniques and skills are sustained mainly through long-term field experience in practice.…”

“…Traditional skilled practitioners, who have successively continued to preserve their native creative know-how, are likely to be under-supported in our industrialized society cf. [6,18]. As traditional craft skills have been developed through practice [29], the majority of such skills have been transmitted through demonstration of practice through master-apprentice relations.…”

“…Sooner or later, the existing artifacts will also be hard to restore due to the lack of skilled practitioners. It is difficult if not impossible to revive old techniques once they are lost, as seen in many other traditional crafts [1,6,17,18]. For that reason, it is important to take countermeasures to secure the maintenance of skills while the traditional craft practitioners are still active.…”

The Intensity of Social Capital Function to Strengthening the Bargaining Position of Craftsmen in the Marketing Souvenirs of Processed Coconut Waste

“…Kreasi modal sosial pada setiap unsur dibutuhkan untuk merapatkan hubungan sosial bermotif ekonomi antara pengrajin dengan para pelaku pasar souvenir. Usaha mikro souvenir atau handicraft yang berbahan limbah kelapa juga membutuhkan kreasi modal sosial untuk peningkatan produksi kreatif yang menguntungkan melalui adopsi teknologi identifikasi karakteristik bahan baku (Dumasari et al 2019).…”