141 Leather Craft Industry and Tourism: A Symbiotic Relationship? (A Case Study of Magetan East Java Indonesia) Rara Sugiarti1, Margana2, Muthmainah3, Laela Rizki Fauzia4 1Tourism Research Center (PUSPARI), Universitas Sebelas Maret, Indonesia 2Department of Arts Education, Faculty of Teaching and Education, Universitas Sebelas Maret, Indonesia 3Department of Accounting, Faculty of Economics and Business, Universitas Sebelas Maret, Indonesia 4Development of Economics, Faculty of Economics and Business, Universitas Sebelas Maret, Indonesia Submitted: September 18, 2019. Revised: November 4, 2019. Accepted: December 28, 2019 Abstract This article examines how leather craft industry contributes to tourism development in Magetan East Java Indonesia and vice versa. This study applied a qualitative approach and is descriptive in nature. Techniques of collecting data include site observation, interview, document review, and focus group discussion. Data were analyzed using the interactive model and thematic analy- sis. Research results indicate four themes. First, leather craft industry in Magetan that is mostly home industry has been empowered in many ways. Several aspects, including a high number of tourist visits, local government policy, abundant human resources, and industrious businessmen have strengthened the industry. Some local government policies have been implemented in sev- eral programs to develop the industry. Second, quality products and new design innovation for leather crafts are limited. Most products that are dominated by shoes and sandals are created for lower-middle-income consumers. Third, leather craft industries in Magetan have contributed to the establishment of local entrepreneurship, small-medium enterprises, and tourism. They create job opportunities for the locals and boost the local economy. Fourth, the relationship between leather craft centers and tourism activities is dominated by tourists’ purchase of leather craft products for souvenirs. However, tourism activity in the area is not yet aimed at watching and involving tourists in the process of craft making for educational tourism purposes. Keywords: Attractions; Crafts; Leather Industry; Tourism How to Cite: Sugiarti, R., Margana, M., Muthmainah, M., & Fauzia, L. R. (2019). Leather Craft Industry and Tourism: A Symbiotic Relationship? (A Case Study of Magetan East Java Indonesia). Harmonia: Journal of Arts Research And Education, 19(2), 141-151. Harmonia: Journal of Arts Research and Education 19 (2) (2019), 141-151 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: http://dx.doi.org/10.15294/harmonia.v19i2.21124 can perform tourism values. Horjan (2011) mentioned that crafts have a mutual rela- tionship with tourism. On the one hand, craft products function as tourist souve- nirs which remind them of the places they visit. Moreover, the existence of craft cen- INTRODUCTION Craft is one of the representations of culture and functions not only as pro- ducts that can generate economic return but also as cultural commodities which Corresponding author: E-mail: rarasugiarti@staff.uns.ac.id p-ISSN 2541-1683|e-ISSN 2541-2426 Harmonia: Journal of Arts Research and Education 19 (2) (2019): 141-151142 ters diversifies tourist attractions. The pro- cess of making craft products can become a tourist attraction. This is in line with a research conducted by Greru & Kalkreu- ter (2017) which mentioned that within the last three decades there has been a shift in tourism and travel pattern from visiting si- tes, monuments, and other tangible objects or cultural heritages to looking at and par- ticipating in the process of making cultural products such as crafts. This has stimula- ted the emergence of a new type of special interest tourism called craft tourism. Hieu & Rasovska (2017) describe craft tourism as having some essential characteristics. It combines several interrelated elements in- cluding aesthetical, cultural, sociological, and economical aspects. Furthermore, it is mentioned that crafts which include textile and arts provi- de contribution to creating tourism desti- nation image and travel experience. Crafts also play an important role in contributing to a country’s economy. The selling of craft products in tourist destinations indirectly create export market for crafts producers. Domestic as well as international tourists often set a budget for buying craft pro- ducts to take home as souvenirs which can tell a lot about the destination visited (Bas- karan & Manikandan, 2016). Besides cont- ributing to economic development, crafts support culture revitalization. Many craft centers employ artisans to preserve and sustain crafts as cultural heritage. Tourism has become one of the key factors to develop a country’s economy (Kum, et al., 2015; Nkemngu, 2012; Proenca & Soukiazis, 2008). Economic activities can grow from the tourism sector and become the biggest factor in many countries. A study undertaken by Proenca & Soukiazis (2008) noted that at the regional level, tou- rism becomes one of the strategies to solve unemployment problems because there is the strong linkage between tourism and ot- her economic sectors, including agricultu- re, retailing, wholesaling, transportation, manufacturing, as well as arts and crafts. The close relationship between crafts and tourism can be seen in many aspects. This is because human nature always returns from traveling with souvenirs and most souvenirs are handicrafts. According to Hieu & Rasovska (2017) tourism deve- lopment without promotion of traditional craft products will result in a loss of the na- tional economy. Concerning craft products as souvenirs Swanson (2004) mentioned that souvenirs are universal reminders of special moments or events and that retur- ning home with souvenirs validates and prolongs the travel experience. Several places have become centers of craft products which provide tourists with diverse souvenirs. The places then become craft villages which are defined as the center of craft production involving artisans and households to sustain tra- ditional heritage as well as produce and sell products in small and medium scope (Hieu & Rasovska, 2017). Huhtamaa (2006) stated that to make crafts essential in tourism market, it is important to develop innovation of new designs, use new colours, choose good materials, and feature the original craft products. The importance of new features was introduced in order to maintain the traditional crafts to be adaptable with the utilities of modern-life. In accordance with the statement Ona & Solis (2016) described that the Ibaloy crafts which have unique- ness can be publicly shared and developed as tourism products. Ibaloy crafts are made of rattan and bamboo that can be found in their immediate surroundings. The selling of Ibaloys craft products creates the liveli- hood of the local people. The selling of the functions of the craft to be a means of Iba- loy culture promotion and provides some commercial benefits. Ballengee-Morris (2008) mentioned that it has become necessary for craftsmen to adapt to modern features of crafts in or- der to make them up to date and ready for sale. Craftsmen modify arts and crafts by doing an experiment with their products to make them suitable for the market. Accor- ding to Cohen (1993), commercialized arts belong to ‘changeover’ dynamics which are capable of continuous evolution and Rara Sugiarti, Margana, Muthmainah, Laela Rizki Fauzia, Leather Craft Industry and Tour- 143 transformation. The sense of ‘commercia- lization’ has been considered largely from the perspectives of change and modificati- on to the crafts because the modification is basically the ‘communication’ between the craftsmen and the tourists (Chutia & Sar- ma, 2016). George (2010) discussed the owner- ship of intellectual property, traditional knowledge, copyrights, and forms of pro- tection relating to a community’s intan- gible cultural heritage which are unresol- ved issues in the commoditization process. However, et al. (2016) mentioned that the commercialization of crafts does not neces- sarily entail the degradation of traditional crafts; further, that promotion of traditio- nal crafts in support of tourism may rekin- dle people’s awareness of their role and importance, as well as vulnerability in the face of modernization. .When a craft is commercially intro- duced in the tourism system, it changes the shape of the object and gives new mea- ning to the craftsman and the consumer community Craftsmen start distinguishing their products as commercial, traditional, rustic, or fine work. Designs, motifs, colour combinations, as well as use of raw materi- als also differ accordingly (Cant, 2012). This paper examines how the leather crafts industry in Magetan supports tou- rism development and whether tourism activities contribute to industry enhan- cement. Many leather craft centers were examined to see whether they can serve as tourism resources which provide craft pro- ducts for souvenirs and become alternati- ve tourist attractions to diversify tourism products. METHOD The research was undertaken in Ma- getan East Java Indonesia. The area was rich in raw materials for leather craft pro- ducts. Leather craft work is done in many home industries located in some villages including Selosari, Candirejo, Magetan, Mojopurno, and Cepoko. All these villages are situated in Magetan regency of East Java Indonesia. Selosari is close to the cen- ter of the town, while the other four villa- ges are situated in the suburban area. This research utilized descriptive method and applied qualitative approach. The location under study is the center of leather craft industries in Magetan Regen- cy East Java. The region has produced a lot of leather crafts for a wide range of cus- tomers. This study explores how leather craft industry in the area supports regional tourism development and how these two agents build mutual relationship through craft tourism. Several techniques were employed to collect data including site observation, interview, focus group discussion, and do- cument study. Data were analyzed using interactive analysis (Miles & Huberman, 1984) and thematic analysis (Maguire & Delahunt, 2017; Braun & Clarke, 2006). The interactive analysis comprises several steps including data collection, data reduc- tion, data display, and conclusion drawing or verification. In this context data reduc- tion is the process of selecting, focusing, simplifying, and abstracting raw data con- cerning leather craft industry and tourism in Magetan which were obtained from the field notes. Data obtained from an inter- view with stakeholders of leather craft in- dustries and tourism as well as existing do- cuments which had been transcribed were reduced and selected to find out key issu- es. Reducing data provide accurate results because checking for reducing can be done to avoid overlapping. Data display relates to the information organization concer- ning leather craft products. The products were classified and categorized to support a conclusion. In this context, display inclu- des providing graphs, charts, maps, and tables related to leather craft products and tourism. Based on the processes conclusi- on is drawn by organizing all data concer- ning leather craft industries and tourism which have been collected and analyzed to be the foundation to draw the conclu- sion of the study. In the analysis process the regularity, rhythm, pattern, statement, configuration, cause-effects, and proposi- Harmonia: Journal of Arts Research and Education 19 (2) (2019): 141-151144 tion concerning leather craft products and tourism were scrutinized. The conclusion is drawn when all the previous processes are done. In thematic analysis the focus was on exploring the themes and patterns that emerge from the data concerning leather craft industries and tourism in Magetan. This method facilitates the management of rigorous and transparent data and allows one to move back and forth to look at the raw data concerning leather crafts and tou- rism in Magetan to establish themes. Four themes were identified in this research in- cluding empowerment of leather craft in- dustry, design innovation, and quality pro- ducts of leather crafts to support tourism, leather crafts, and local entrepreneurship, and craft centers, tourism, and souvenirs. RESULTS AND DISCUSSION Empowerment of Leather Craft Industry Magetan is one of well-known re- gions of leather craft manufacturers in In- donesia. The business of producing leather crafts has grown in the area for several years where many of the craftsmen started their businesses from home industry. Seve- ral aspects have empowered the industry, including government policy, abundant human resources, and industrious busi- nessmen. First, the local government of Magetan has empowered the industry development by providing education and training programs as well as assisting bu- siness capital, technology, and production equipment. Second, leather craft industry in Magetan is supported by the abundant human resource that is a substantial ele- ment supporting the industry. There are 553 artisans involved in the industry, con- sisting of 23 female and 530 male workers. Third, the existence of industrious busi- nessmen producing leather crafts in the area plays significant role in strengthening the craft industry. There are 201 leather craft industries in Magetan producing a variety of craft products. These are great resources, considering that the large num- ber of production houses provides a large production capacity. This is not only an advantage for the artisans to improve their economy but also good opportunities for new tourism businesses. It is in accordance with research findings by Hieu & Rasovs- ka (2017) which reveal that craft industries create employment, contribute to poverty alleviation, and support tourism. The existence of leather craft home industries in Magetan supports tourism development in the region in two ways. Firstly, leather products of home industries function to be tourist souvenirs that create a memory of destination. Secondly, craft souvenirs become one of tourism promo- tional tools for Magetan tourism. One mis- sed-opportunity is the fact that the process of making leather crafts has not been deve- loped to become alternative tourist attrac- tions for educational purposes. Tourists vi- siting Magetan can see how artisans create various leather crafts and try some of the processes. Tourists can involve in the acti- vity, and this will be a new travel experien- ce. However, the activity has not been seen and understood by tourism stakeholders in the area as an opportunity in tourism businesses. Tourists only come and buy leather products and leave. With regards to buying leather craft products, some tourists visiting Magetan comment that there is a lack of product di- versity. Magetan leather craft centers have not yet produced varied designs of crafts due to the lack of machinery and tools. It is in accordance with a study conducted by Srivastava & Sharma (2014) on Indian han- dicrafts industry in Mojari which mentio- ned that the diversity of leather products is limited because of the absence of sufficient types of equipment and tools. Modern mechanical tools used in the manufactu- ring process of leather products consist of elementary machines like die-cutting and finishing machines. The usage of machine- ry to create a product can improve aesthe- tics as well as finish and reduce drudgery. Besides, it increases the variety of leather products. Rara Sugiarti, Margana, Muthmainah, Laela Rizki Fauzia, Leather Craft Industry and Tour- 145 A study by Tsaknaki, et al. (2014) also supports the argument and mentions that there is a significant difference between handcrafting process and process using la- ser cutter to develop the form and design of the product. The use of a modern tool such as laser cutter is more practical and saves time. Besides the lack of various design, the efforts to empower leather craft in- dustry in Magetan has not yet been con- nected to initiating tourists activities in craft centers. According to a study by Chu- tia & Sarma (2016), the expansion of leat- her craft products through tourism is one of the processes of commercial production modes for the betterment of the poor craft- making communities. The products that combine culture, tradition, and design are made to attract both domestic and interna- tional tourists (Zhang & Liu, 2011). Moreo- ver, Gustami, et al. (2014) noted that in In- donesia, tourism has been one of the main stimuli for crafts. Indonesian artisans even become one of the inspirations for Inter- national design magazines, such as ELLE Décor, Vogue Living, and Belle (Chotira- tanapinun, 2009). In other words, the arti- sans have entrepreneurial characteristics since there are creativity, innovation, risk- taking, and opportunity. In regard to creativity and opportu- nity many craft home industries in Mage- tan which produce shoes, sandals, belts, and jackets can, in fact, develop new leat- her craft products for tourist souvenirs. This is because their production process leaves a lot of patches that become waste and that the artisans can make use of the- se patches to create a new design of crafts for tourist souvenirs. This opportunity has not yet been taken as a new business. At present, however, only a few people have utilized the patches. Similarly, new business opportuni- ty to develop educational tourism based on leathercraft industries in Magetan has not been developed. In fact, when tourists visit craft centers they can try and expe- rience how to create leather souvenirs for themselves. The artisans can make use of the patches as learning media or trial and practice media to accommodate tourists who are interested in experiencing leather crafts making. A project concerning how to change leather waste or patches to func- tional leather by Palacios, Limiñana & Ais (2016) supported this argument. The pro- ject basically highlights transformation of hides and animal skins into leather and makes use of solid organic waste. (a) < 200.000.000; (b) 201.000.000 - 400.000.000; (c) 401.000.000 - 600.000.000; (d) 601.000.000 - 800.000.000; (e) 801.000.000 – 1.000.000; (f) >1.000.000.000 Figure 1. The number of leather craft home industries and the production value (Source: Magetan Government Industry and Trade Office, 2017) Figure 1 shows that leather craft home industries in Magetan have become great revenue resources for the region. There are 10 biggest production houses of which re- venues already reached Rp. 1,000,000,000 in 2017. The number of production hou- ses described seems to be small if they are compared to the total 201 production hou- ses of leather craft in Magetan. Design Innovation and Quality Products of Leather Crafts to Support Tourism Magetan leather craft centres produ- ce several products that are mostly shoes and sandals. However, there are also other products such as leather belts, jackets, and bags. Despite a large number of products, there is only a small variety of products. Si- milarly, quality products and new design innovation for leather crafts are limited. Traditional leather craft products of Harmonia: Journal of Arts Research and Education 19 (2) (2019): 141-151146 Magetan have to some extent fulfilled the expectation of some buyers. However, the- re are some products that do not represent characteristics that meet the needs of eit- her domestic or international tourists for souvenirs. Both diversifications of a model and new leather craft design are limited. Besides, to some domestic tourists, the price of Magetan’s leather craft products is high. Most of them want cheap souve- nirs. To some others, price does not mat- ter. However, it is difficult to find quality leathercraft products in Magetan. It is in line with a study conducted by Zhang & Liu (2011) on tourist souvenirs in China which reveals that some domestic tourists want cheap souvenirs, while international tourists want quality products. He also mentioned that different backgrounds of tourists tend to have different shopping behaviour, spending level, and cultural knowledge. Consequently, craft producers have to create different products based on consumers’ demand. Besides price and quality, this market segmentation requires innovation and diversification of leather crafts which represent the uniqueness of the region. According to Richards (2011) inno- vation of new designs of leather craft pro- ducts for souvenir has significantly contri- buted to the development of both leather crafts and tourism. With regard to Magetan leather industry, limited diversification of leather craft products is due to the lack of machines, tools, as well as competence of the artisans for creation and innovation. A study by Srivastava & Sharma (2014) about leather crafts in Mojari India supports the findings. It is stated that the availabili- ty of sufficient machinery and tools, new designs and patterns have contributed to the success of leather craft industries in the region. Similarly, the success of leather craft products of Garut West Java is also determined among others by innovation of contemporary designs to meet customers’ demand (Mulyati, 2016). Moreover, Bal- lengee-Morris (2008) mentioned that new handicrafts which adapt modern patterns are very useful because they benefit two parties, i.e. the consumers and the artisans, and will increase production values in ac- cordance with market desires. According to Kesarwani, Jahan & Kesarwani (2015) customer demand should be fulfilled by the availability of quality and variety of products. Figure 2 shows various products of leather crafts in Magetan. The products of leather shoes and sandals are still the most produced in the area comprising 85%, fol- lowed by leather belt products (14%), and leather jackets (1%). The figure also shows that leather product diversity is limited. Restricted design and model constrain buyers to explore and purchase craft pro- ducts. Figure 2. Crafts industry in Magetan in 2016. (Source: Magetan Government Industry and Trade Office, 2017) Figure 3. Leather Craft Products of Magetan. Creating the new design of leather crafts does not only provide customers to have more choices but also support the revitalization of traditional art and crafts as the tourism sector. This is in line with Pratamawati (2016) who stated that revi- talization is needed because it can revive Rara Sugiarti, Margana, Muthmainah, Laela Rizki Fauzia, Leather Craft Industry and Tour- 147 and boost the artisan to remain concerned with art. Her research about mask puppet as traditional art performance and cultural tourism commodity mentions that tradi- tional art performance does not only pro- vide economic benefits for all the parties involved, including the artist and the local government but also give opportunities to the artists to improve their creativity to de- sign art performance as a tourist attraction. Further, the creation of a new design also increases the cultural wealth of an area. Therefore, new design creation has a sym- biotic relationship with the revitalization of art and craft and tourism development. Local Entrepreneurship, Leather Crafts, and Tourism Within the last few years, home in- dustry producing leather crafts have flou- rished in Magetan. As many as 201 leather craft home industries have emerged and sustained their businesses. In 2016 some of the production values even reached Rp. 1,000,000,000.00 (See Figure 1). They create job opportunities for the locals and boost the regional economy. Similarly, this industry has emplo- yed as many as 553 artisans. Many tourists buy their craft products for souvenir cre- ated by these artisans. Leather craft in- dustries in the area have contributed to the establishment of local entrepreneurship, small-medium enterprises, and tourism. It supports the growth of local economy. It is in accordance with a study under- taken by Baskaran & Manikandan (2016) on craft tourism service in Tamilnadu In- dia. The study revealed that leather crafts generally contribute to economic growth of an area. By working in the craft industry craftsmen are able to support their family income and send their children to school. Besides contributing to the household economy, crafts industry supports the pre- servation of local culture and enhancement of travel experience (Whitford & Ruhanen, 2010). Hieu & Rasovska (2017) underlined that indigenous culture such as crafts fun- ctions as a means for livelihood and cre- ate indigenous entrepreneurship which establishes small businesses to provide li- ving for themselves and their families. Si- milarly, tourism creates employment and provides entrepreneurship opportunities for the locals by optimizing the use of local resources. In the context of Magetan leather craft industry, entrepreneurship activities include producing and selling craft pro- ducts to both local and foreign tourists. There are 921.031 tourists visiting Magetan in 2017. This is a big market for crafts and souvenir production houses. However, the participation of local craft entrepreneurs’ to take this market opportunity is current- ly limited. Local entrepreneurs need to en- courage not only the involvement of local artisans but also the involvement of other residents to become entrepreneurial indi- viduals or communities and develop leat- her craft businesses in Magetan to move towards prosperity. Local entrepreneur- ship enhancement on leather craft business can reduce unemployment and contribute to poverty alleviation (Hieu & Ravonska). Figure 4. Areas of leather craft production in Magetan. Figure 4 shows that there are some villages in Magetan which become the centers of leather craft industry including Selosari, Candirejo, Magetan, Mojopurno, and Cepoko. Most of the places are loca- tions for leather craft production. Selosa- ri is located in the main road to Sarangan Lake, the most famous tourist destination in Magetan. This place which is known as Jl. Sawo has become important product outlet for local leather crafts. A number of leather shops sell different kinds of leather products, including shoes, sandals, belts, jacket, wallet, and purse produced by local Harmonia: Journal of Arts Research and Education 19 (2) (2019): 141-151148 home industry. Many tourists come to this place after visiting Sarangan Lake to buy souvenirs. Candirejo is a village that pro- duces mostly leather sandals made of na- tural colouring leather. In Mojopurno the- re are some artisans producing souvenirs made of leather patches. The products are affordable for all tourists both low-budget and the upper-end. The other villages in- cluding Candirejo, Magetan, Mojopurno, and Cepoko function more as production places. The marketing places include Se- losasri (Jl. Sawo) and some tourist attrac- tions in Magetan. Therefore, some popular tourist at- tractions in Magetan including Sarangan Lake, Wahyu Lake, Cemoro Sewu, and Tir- tosari Waterfall as well those five villages, have a significant role to support craft in- dustries in the region. Some of them func- tion as “showroom” or facade for craft pro- ducts; some others are suppliers of leather crafts purchased by tourists as souvenirs. According to Zhang & Liu (2011), souve- nirs are reminders of the places tourists visit. They pursue things to buy for souve- nirs when they visit a destination. For most tourists shopping is their habit. Vacation is not complete without shopping. However, different tourists have different shopping habits and patterns. Some tourists purcha- se cheap souvenirs which are usually of low quality. Some others seek quality craft products which is often expensive. Another research by Suryawardani, et.al (2014) mentioned that the availabili- ty of souvenirs which are based on local craft products strengthens local souve- nirs and reduces imported crafts. One of the reasons why tourists buy local crafts is because they want something authentic which symbolizes local culture. Tourists shop souvenirs for themsel- ves, their families, friends, and relatives. Therefore, the existence of the craft in- dustry provides support to regional tou- rism since it accommodates the tourist’s need for shopping activities. Similarly, tourism contributes to the development of souvenirs and gifts industry. It also ser- ves as promotional tool of a tourist desti- nation. When a destination is promoted, more tourists come and the locals benefit more from tourism. Tourism indeed plays an important role in developing regional economy. Furthermore, the success of tou- rism industry can be seen from the growth of small business of local entrepreneurship and craft markets. Leather Craft Centers, Tourism, and Sou- venirs Leather craft centre of Magetan pro- vides a lot of products to be purchased by tourists for souvenirs. There is significant increase of 10% in the number of tourists visiting the region from 828.913 in 2016 to 921.031 in 2017. At the same time tourists Table 1. Tourism Facts of Magetan East Java Indonesia. Indicators Year 2013 2014 2015 Number of tourist visits (thousand) 577.3 627.1 752.83 Tourist length of stay 2.42 2.35 3.27 Tourism revenue (Million Rp.) 4902.6 5357.5 6425.8 Indicators Year 2016 2017 Number of tourist visits (thousand) 828.913 921.031 Tourist length of stay 2.42 2.27 Tourism revenue (Million Rp.) 7.051.8 7.806.5 Source: Magetan Government Tourism Office (2018). Rara Sugiarti, Margana, Muthmainah, Laela Rizki Fauzia, Leather Craft Industry and Tour- 149 shopping habits give opportunities of the craft industry to flourish. These have per- formed a symbiotic relationship between crafts and tourism and can support the emergence of new type of special interest tourism which is called craft tourism. As can be seen from Table 1 the num- ber of tourist visits to Magetan gradually increases from 577.373 in 2013 to 921.031 in 2017. Similarly, tourism revenues increase from 4.902.613.000 in 2013 to 7.806.471.000 in 2017. This shows that tourism has deve- loped in the area and has become an op- portunity for other businesses including leather souvenir industries to grow. Howe- ver, length of stay of the tourist decreases from 3.27 in 2015 to 2.42 in 2016 and 2.27 in 2017. The tourism authority needs to make an effort for making tourists stay longer in Magetan. It can be extended by providing alternative cultural activities such as visi- ting and participating in the process ma- king of leather craft making for souvenirs. The pattern of tourist visits, where they always stop by in leather craft centers to purchase souvenirs, supports leather craft industries to flourish. It also increases the additional income of the community and boosts the local economy. This is in line with a study conducted by Hieu & Rasovska (2017) on Vietnam’s handicraft villages. The results mention that seen from an economic perspective, craft tourism creates more employment, improve local economy income, alleviate poverty, and play a substantial role in imp- roving product sales because tourists will purchase craft products when they visit craft villages. Moreover, handicraft pro- duct development has become the cultural pride of the local community and created their income-earning tools. Their products have even been exported to more than 100 international markets. Some leather craft home industry of Magetan produces different craft products that are suitable for souvenirs. The pro- ducts are small, handy, and cheap. They include various models of key chains and mini wallets. These types of souvenirs are used either for memorial, collection, or gift for friends and relatives. Some of the sou- venir products are made of patches or was- te of the making of shoes and sandals. Zhang & Liu (2011) mentioned that souvenirs have strong local features. Bu- ying meaningful souvenirs can promote tourist destinations and help people un- derstand the tourism region. Souvenirs in- cluding arts and crafts also support the de- velopment of the local economy. A study conducted by Nyawo & Mubangizi (2015) concerning art and craft contribution to local economic and tourism development in Mtubatuba South Africa mentioned that natural resources and cultural products such as arts and crafts have successfully drawn tourists to the area. Furthermore, it was stated that tourism growth success has impacted the emergence and development of small businesses including restaurants and crafts industries. It shows that tourism plays a significant role in accelerating a country’s economic growth. Concerning the development of craft tourism and souvenirs of Magetan, there are some tourism places such as Saran- gan Lake, Tirtosari Waterfall, and Cemoro Sewu which provide chances for artisans to sell their craft products. Currently, it is a good opportunity to create unique sou- venir products because tourists always want to bring back souvenirs for several reasons. Firstly, souvenir is an important element of travel experience. It is usually perceived as a memory carrier on a vacati- on that connects someone with experience. Secondly, souvenir relates to prestige be- cause it shows people that someone has vi- sited a famous tourism place. Thirdly, sou- venir reflects history and heritage value which becomes an important learning tool. Fourthly, souvenir sales help indigenous people earn money for the betterment of the family economy (Hieu & Rasovska, 2017; Ona & Solis, 2017). CONCLUSIONS Based on the explanation above, four main points can be drawn. First, tourists who purchase souvenirs, assistance from Harmonia: Journal of Arts Research and Education 19 (2) (2019): 141-151150 local government, artisans and business- men who produce craft products have supported the region’s leather crafts in- dustry. Second, leathercraft products cre- ated do not perform recent design innova- tion. Many products cannot catch up with the new market trend and cannot fulfill the demand for high quality. Third, the locals have opportunities to be entrepreneurs and enhance the local economy by deve- loping a leather home industry that pro- duces souvenirs for tourists. 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