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after this imagination was thus liberated from traditional forms, Sapto said he was amazed at the variety of styles that poured out - some people produced things that look Chinese, some that looked Arabic + still others Hindu - like forms ((hence the old hated foreign influence has been going on for quite a while, I'd say))
- the Temanggung village, acc. to Sapto, is a poor upland village (desa bukit) - since they traditionally made genteng, not grabah, Sapto has made arrangements for them to get red clay ((stickies)) from another area which they then mix with their own clay to make the new-style figures
Sapto insists that when you teach a new craft it must be in a village which has an old related craft; e.g. he can teach ceramics to the genteng village because they are used to working with clay + already have the feel of it ("sudah beasa pegang tanah liat") 
- Sapto has a long + successful record of stimulating andicrafts

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in the Jogja area - he mentioned the role he played in the Jogja city bamboo carving industry, saying whereas formerly they produced nothing which could fit into an upper class home, now they produce things upper class people would not be ashamed to have in their homes
he invited me to come to visit him in Jogja so we could talk at more length - if this takes place should find out:

1. exact location of Temanggung village
2. more about his teaching methods
3. names + locations of other villages he has been associated with over the years
4. is he exporting?

Sapto an artist, not an economist, + seemed uninterested in such topics I raised as income distribution (pemerataan pendapaton), cost of firewood, etc.
mentioned Temanggung village only uses sampah they gather themselves for firing, no firewood