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about the situation in Kasongan, because women make the low - profitability wares (grabah) + men make the high probability wares (ukir tempel) - I asked whether he wasn't afraid the same thing would occur at the new village - Sapto gave the answer ((quite wrong)) that probably the men ^inkasongan were doing the grabah fornerly + then once they learned the ukir tempel they turned the grabah over to the women "so they would have something to do too" 
far frin being concerned that the men would take over the new opportunities, Sapto mentioned as a special point of pride the fact that, whereas only the women came to his classes in the beginning, later he was able to get the men + boys to attend too.
the wares made by the new village also do some animal figures but, acc. to Saptoh, the designs are quite different from Kasongan - while Sapto may be faulted for his unconscious sexism, in fact his own wife has a strong hand in running their business; a noted beauty locally, she stands out for her elaborate + enormous hairdos + dramatic makeup - when tourists come into the airport shops she + her shop girls put on impromptu fashion shows - they don't give these performances for locals because acc. to Danang, they know locals won't pay such high prices; it is true their prices are high + they orient themselves very much to the tourist market - an example is that kain gaya Sumba which I buy in Troso for 4000 Rp each (w/ out bargaining) sells at one of Sapto's airport shops for 18,000 Rp
Sapto seems to have mixed feelings about foreign or outside influences on local crafts; he mentioned that he turned down a govn. request to set up enterprises (outlets?) all over Indonesia on the grounds that only Jogja batik should be sold in Jogja, only Surabaya batik should be sold in Surabaya and only Irian batik should be sold in