Pengembangan Kerajinan Sangkar Burung Kelurahan Kadipiro, Surakarta, Jawa Tengah

Authors

  • Aan Sudarwanto Jurusan Kriya Fakultas Seni Rupa dan Desain ISI Surakarta
  • Rahayu Adi Prabowo Jurusan Kriya Fakultas Seni Rupa dan Desain ISI Surakarta
  • Ari Supriyanto Jurusan Kriya Fakultas Seni Rupa dan Desain ISI Surakarta

DOI:

https://doi.org/10.33153/abdiseni.v10i2.3042

Abstract

AbstrakKriya mempunyai cakupan yang sangat luas salah satunya adalah   kriya kayu, dimana   konsentrasi penggunaan bahan baku utamanya   didominasi   bahan baku kayu. Diantara keragaman produk kriya kayu adalah produk kerajian sangkar burung. Dari data yang ada diketahui bahwa dalam 10 tahun terakhir telah mengalami booming. Hal ini karena banyaknya muncul peternak burung sebagai komoditi perdagangan maupun banyaknya komunitas-komunitas pecinta burung baik dari kalangan masyarakat ekonomi lemah hingga masyarakat menengah dan atas. Kebutuhan sangkar burung meningkat dengan pesat hampir merata di setiap daerah dan berdampak pula muncul sentra kerajinan sangkar burung sebagai kantong penghasil sangkar burung. Salah satunya sentra kerajinan sangkar burung di kalurahan Kadipiro, Banjarsari, Surakarta. Terdapat  beberapa permasalahan  yang  menjadikendala di sentra kerajinan sangkar burung di kalurahan Kadipiro Surakarta, diantaranya adalah; Tidak mampu memproduksi dalam waktu yang singkat, tidak adanya standarisasi produk fungsional, kurangnya tenaga kerja trampil dalam mengembangkan produk. Tidak ada produk dengan branded tertentu sehingga mudah ditiru. Berpijak dari permasalahan dan kondisi di sentra kerajinan sangkar burung Kadipiro  maka  dilakukan kegiatan peningkatan pengembangan produk sangkar burung melalui program PPM, dengan target pengusaha bernama Yudi Haryadi yang saat ini sedang merintis kerajinan sangkar burung bernama “Carisa Sangkar” . Fokus dari kegiatan PPM ini lebih diarahkan pada pada aspek peningkatan kualitas produk karya kriya kayu khususnya sangkar burung dengan pembuatan desain yang baik sampai  menjadi  prototype.  Kemudian  dilakukan  penguatan sumber  daya  manusia, melalui pendampingan lapangan, yang diharapkan dapat meningkatkan penjualan dan sekaligus secara tidak langsung dapat meningkatan kesejahteraan masyarakat.Kata kunci : Kriya,  kreativitas, sangkar burung, sistem produksi AbstractCraft has a very broad scope one of which is wood craft, where the concentration of the use of raw materials  is mainly  dominated by  wood raw  materials. Among the  wood craft  products are  bird cage. It is known that in the last 10 years becoming the peak season. This is due to the large number of bird breeders emerging as trade commodities as well as the many bird-loving communities from among the economically weak to the middle and upper classes. The need for bird cages is rapidly increasing almost evenly in every area and the impact is also emerging centers of bird cage crafts as bird cage producers. One  is a bird cage craft center in Kadipiro , Banjarsari, Surakarta. There are a number of problems that have become obstacles in the bird cage handicraft center in Kadipiro Surakarta, including not able to produce in a short time, there is no standardization of functional products, lack of skilled workforce in developing products. There is no specific branded product so it is easy to imitate. Based on the problems and conditions in the Kadipiro bird cage craft, activities to improve the development of bird cage products through the community service , with the target of a businessman named Yudi Haryadi who is currently pioneering a bird cage craft called “Carisa Cage”. Improving the quality of wood craft products, especially birdcages by making good designs to become prototypes. Then do strengthening human resources, through field assistance, which is expected to increase sales and at the same time indirectly improve community welfare.Keywords: crafts, creativity, bird cage, production system

Downloads

Download data is not yet available.

References

Agus Sachari, 2002, Estetika, Makna Simbol dan Daya, Bandung : Penerbit ITB

Agus Sachari, Yan Yan Sunarya, 2002, Sejarah dan Perkembangan Desain dan Dunia

Kesenirupaan di Indonesia, Bandung : Penerbit ITB

Ambar Teguh Sulistiyani, 2004, Kemitraan Dan Model Model Pemberdayaan, yogyakarta : Gava Media

Soegeng Toekio, at all, 1987, Pengantar Apresiasi Seni Rupa, ASKI Surakarta

Soedarsono RM, 2001, Metodologi Penelitian Seni Pertubjukan dan Seni Rupa, Bandung : MSPI

Isbandi Rukminto Adi. 2012., Intervensi Komunitas dan Pengembang Masyarakat (sebagai upaya pemberdayaan masyarakat).Jakarta : PT. Raja Grafindo Persada.

Downloads

Published

2020-04-28

Issue

Vol. 10 No. 2 (2019)

Section

Articles

License

License and Copyright Agreement

In submitting the manuscript to the journal, the authors certify that:

  • Their co-authors authorize them to enter into these arrangements.
  • The work described has not been formally published before, except as an abstract or part of a published lecture, review, thesis, or overlay journal. Please also carefully read Abdi Seni's Posting Your Article Policy at https://jurnal.isi-ska.ac.id/index.php/abdiseni/about/editorialPolicies#peerReviewProcess
  • That it is not under consideration for publication elsewhere,
  • That its publication has been approved by all the author(s) and by the responsible authorities – tacitly or explicitly – of the institutes where the work has been carried out.
  • They secure the right to reproduce any material already published or copyrighted elsewhere.
  • They agree to the following license and copyright agreement.

Copyright

Authors who publish with Abdi Seni agree to the following terms:

  1. Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License (CC BY-SA 4.0) that allows others to share the work with an acknowledgment of the work's authorship and initial publication in this journal. 
  2. Authors can enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgment of its initial publication in this journal.
  3. Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) before and during the submission process, as it can lead to productive exchanges and earlier and greater citation of published work.

Licensing for Data Publication

Abdi Seni uses a variety of waivers and licenses that are specifically designed for and appropriate for the treatment of data:

Other data publishing licenses may be allowed as exceptions (subject to approval by the editor on a case-by-case basis). They should be justified with a written statement from the author, which will be published with the article.

Open Data and Software Publishing and Sharing

The journal strives to maximize the replicability of the research published in it. Authors are thus required to share all data, code, or protocols underlying the research reported in their articles. Exceptions are permitted but must be justified in a written public statement accompanying the article.

Datasets and software should be deposited and permanently archived in inappropriate, trusted, general, or domain-specific repositories (please consult http://service.re3data.org and/or software repositories such as GitHub, GitLab, Bioinformatics.org, or equivalent). The associated persistent identifiers (e.g., DOI or others) of the dataset(s) must be included in the article's data or software resources section. Reference(s) to datasets and software should also be included in the article's reference list with DOIs (where available). Where no domain-specific data repository exists, authors should deposit their datasets in a general repository such as ZENODO, Dryad, Dataverse, or others.

Small data may also be published as data files or packages supplementary to a research article. However, the authors should prefer a deposition in data repositories in all cases.