Traditional craftsmanship of ASEAN region

The Official Manila FAME Press (2016) has pointed out that knowledge on traditional craftsmanship is slowly depreciating because the region has opened up their craftsmanship secrets to strangers. Another major concern is about the future of the ASEAN’s craftsmanship since the majority of the youths are shying away from this industry (Lopez, 2016). Lopez (2016) observed that some traditional wears such as Kris have lost much of its social and spiritual meaning in contemporary society. Furthermore, Fong & Cody (2012) established that following the Dutch colonization in Malaysia, the traditional wearing of Kris during different social events has progressively lost meaning. Although the Sultan’s attendants still wear the Kris, the number of the wearers have since declined in the ASEAN region by a large percentage in the past few decades.

Modernization This is the transition from a traditional, agrarian, or rural society to a globalized or urban society. Literature Review Yang, Shafi, Song & Yang (2018) define handcraft as those items that are produced by craftsmen and are entirely produced by the use of hands or with the assistance of hand-tools and that the mechanical contribution of artisans remains a substantial input to the end product. The distinctive features of each craft may be drawn from their artistic, aesthetic, utilitarian, decorative, cultural value, religious, and traditional significance (Kovathanakul, 2013). Crafts are primarily made of sustainable raw materials with no restriction on production limits. Artisans have perfected in this artwork in which even when artisans make quantities of a design, the products are distinct from one another.

Yang, Shafi, Song & Yang (2018) have established that the young generation is unwilling to take up this profession because of the complexity and time-consuming process of craftsmanship. As a result, the younger generation ought to take up jobs in factories which are less demanding but with higher pay than the traditional handcrafts. A study by Kovathanakul (2013) shows that the question of inheriting traditional craftsmanship skills, knowledge, and techniques is a significant issue in the contemporary world. The study established that the younger generation is unwilling to take up traditional craftsmanship because of the complexity and longer time required to produce traditional products (Yang, Shafi, Song & Yang, 2018). The aging population, as well as the unwilling of the knowledgeable persons in the region to share these skills to strangers, hinders the transfer of the powers to those who may be willing to take up the task.

Where the researcher wants to explore about the cause and effect relationship, the researcher is required to use a causal design. In the case of very minimal information being available, the researcher needs to use an exploratory design. In the case of this study, the nature of the research question is exploratory and this implies that the researcher will use an exploratory research design. Since the study is exploratory, Neuman (2013) has recommended that such designs should be linked to qualitative research designs. Furthermore, by focusing on the needs of the research question, and since the study focusses on how to modernize traditional crafts to suit the current market, then, the best method of data collection for the study is the use of case studies (Erickson and Kovalainen, 2015).

Analysis From the literature review above, it is possible to modernize traditional crafts and integrate them in today’s market while retaining their cultural value. The critical value in doing this is through adaptation. The literature above shows that consumers still value traditional handicrafts not only because of their aesthetic value but also because of their personal touch. With these regards, it is possible to reinforce traditional markets by increasing stakeholder participation and at the same time creating new ones. Kovathanakul (2013) has pointed out that the ASEAN region is an economic powerhouse being ranked as the 7th largest economy globally, with a combined Gross Domestic Product (GDP) of 2. Previously, not only that women acquired special skills about weaving among other traditional family roles, but they were also taught about the complexity of cultural norms in which they were assigned specific tasks that involved art.

Additionally, the ASEAN region should take advantage of the increased tourism which has been brought about by globalization to display their traditional crafts and educate tourists about the region’s culture and arts (Hanan, 2012). The emergence of traditional villages including Yogyakarta have successfully capitalized on increased tourism through globalization to improve their sales to the global market (International Research Journal of Business and Management, 2014). Moreover, the region can work towards promoting trade exhibitions, including the Manila FAME, Bangkok’s International Innovative Craft Fair, and Jakarta International Handicraft Fair among others (The Official Manila FAME Press, 2016). These exhibitions have been focused on showcasing craftsmanship, artisanship, and designs, particularly to the younger generations. With this fast-changing world where change is the only constant, the integration of the traditional craftsmanship and adaptation into the modern means of tourism is necessary.

Niche-selling craftwork may be preserved and modernized because the majority of consumers are willing to purchase this tradition as a luxury investment. Nonetheless, selling of cheap bulk craftwork to tourists and which is of lower quality may not be sustainable for artisans who want to survive in today’s market. This may be an excellent way to modernize the region’s traditional craftsmanship to suit today’s market. If the relevant stakeholders continue to fail to enrich the region’s culture or upgrade it, the Southern Asian region may lose their sense of unity and identity. Fong. In Routledge Handbook of Heritage in Asia (pp. Routledge. Hanan, H. Modernization and cultural transformation: The expansion of traditional Batak Toba House in Huta Siallagan.