Development of Creative Handicrafts Industrial Zones in Rajapolah District, Tasikmalaya Regency: Spatial Recommendation for Village Areas

The creative craft industry in Rajapolah District as the main driver of the regional economy in supporting facilities that still concentrated in one particular area. There have been limited studies concerned on spatial functions in creative spaces. This article addresses the criteria for functions and facilities for the development of creative industrial areas and their application in spatial recommendation for village areas. This research used a quantitative method using instruments on statistical data. Data analysis was divided into three stages namely identification, determining the criteria, and determining spatial functions. The study used the form of production data includes raw materials, labor, product size, product diversity, as well as the distribution of production houses, marketing facilities and education and training. The results showed that the development of creative industrial zones can be identified on criteria functions in the provision of raw materials, production, research and development, and marketing. Some villages have fulfilled the criteria for the function of creative spaces, which are relatively scattered in craft production houses close to the center of village activities. Besides that, it is also relatively far away, however supported by adequate road access. Creative promotion centers in the form of markets, outlets and shops are mostly concentrated on the main road network. Meanwhile, creative education centers in the form of multi-purpose building are relatively concentrated in some villages. Articles contribute to the field of creative industry science which is practically used as a consideration for the government in preparing detailed urban masterplans.


Introduction
The creative industries emphasize creativity, individual skills, and talent in creating jobs and well-being. The focus of this industry is on empowering the inventiveness and creativity of an individual (Ministry of Trade of the Republic of Indonesia, 2008). Creative economy has been widely debated in academic and public policy spheres due to the growing 399 Ari Djatmiko et al. / Geosfera Indonesia 6 (3), 2021, 398-425 relevance of the creative sectors in the economy and its relation to development (Luiz et al, 2019). In the age of knowledge-based economies, open innovation has increasing importance (Yun et al., 2018). Economic growth around the world has been influenced by the creative industries. (Liang & Wang, 2020).
Creativity, cultural policy, and public places are factors influencing the development of the creative industry (Novak, 2019). Organizations, especially within the creative industries, are increasingly faced with limitations while applying classical strategy theories due to changes in social and economic environmental factors (Schmidt et al., 2018). Creative hotspots have become a key role for urban policies to stimulate social, cultural, environmental and organizational growth of creative and knowledge-based clusters, districts and hubs. However, their functional and spatial characteristics vary due to their different evolving structure as new spaces of economic activity in a different contexts (Mengi et al., 2020). The pioneering role of more bottom-up initiatives and innovative urban concepts, springing from the creative industries and movement initiators (Jansen et al., 2021).
The Creative Economy will become a global economic trend in the next few years.
Stagnation of economic growth and environmental degradation are increasingly worrying, encouraging the whole world to prioritize creativity in economic life that maximizes the added value of a product of goods and services in the context of the sustainability of human life and civilization (Arifianti et al., 2017). The development of the creative industry as a driving force for economic growth for the economies (Bilan et al., 2019). Creative economy development is the right choice to maintain economic resilience in conditions of global crisis (Romarina., 2016). Creative individuals need to be accommodated by the provision of places or regions that can enhance the creative industries (Richards., 2020). The organically grown, village-based artist clusters can be better nurture creative people than planned arts districts, for these clusters feature a flexible and autonomous land development arrangement, frequent interactions between artists and village residents, and a broad spectrum of entrepreneurial opportunities (Li & Liu, 2019). A presence of creative class attracts other members and further strengthen establishment of other creative sectors which can result in the formation of creative cluster (Baculáková, 2018). The forms of creative industries will create new markets for the Indonesian trade industry (Lucky, 2014).
The Indonesian government promotes "traditional" handicraft businesses that have long been established as creative industries, however pays little attention to the creation of new knowledge and only focuses on heritage value as a selling point (Zul & Koster, 2017).
Large-scale industries with excessive promotion can hinder the development of local products 400 Ari Djatmiko et al. / Geosfera Indonesia 6 (3), 2021, 398-425 and creative industries (Zhan & Walker, 2018). However, it has often been invisible in the eyes of policy and policymaking (Comunian & England, 2020). Government policy can support the sectors through subsidies, regulations, standardization, and protections at regional and national level (Liu, 2021).
The creative industry in Indonesia is growing rapidly and could not be separated from the support of new media. The use of new media by the creative industry attracts potential consumers not only from within the country but also from abroad (Rusdi & Genep, 2018).
Cooperation with competitors does not have a significant impact on innovation, have substantial implications for both practitioners and policymakers interested in enhancing innovation among small creative firms mainly craft sector (Shafi et al., 2019). Craft practices are unique in accommodating local wisdom values (Zhan et al., 2017). The government has established a Creative Economy Agency (BEKRAF) to improve quality and competitiveness with other types of industries. BEKRAF will strengthen cross-sector cooperation to ensure the existence of creative industries. Creative industry concepts can accommodate the interests of science, society, and politics simultaneously (Afrianti & Aditya, 2020).
When viewed from these conditions, small businesses and the informal sector actually have a big role in the economy of Tasikmalaya Regency during the crisis. It can be said that these two types of businesses support economic activity when large-scale businesses experience a downturn due to the crisis. Therefore, the activities of small businesses and the informal sector need to be fostered and developed primarily to meet local needs by using local resources (Tasikmalaya Regency Spatial Plan 2011. This is in line that the concept of the creative industry itself is a creativity-based activity that affects the economy and welfare of the community, such as handicrafts in Batu City (Fitriana, 2014). SME's currently have a significant impact on the economy of Tasikmalaya Regency even during the current economic crisis and Covid-19 Pandemic (Romano, 2021).When conditions are unfavorable for other economic activities, creative industries in most types of creative industries become the backbone of the driving force of the community and regional economy. Therefore, small businesses and the informal sector need to be fostered and developed especially, to meet local needs by utilizing local resources. In the Tasikmalaya Regency Spatial Plan (RTRW 2011(RTRW -2021, creative economic activities need to be developed and allocated in a more explicit space. This implementation will undoubtedly be complex for the government to compile a more detailed plan document. The allocation of space needs to be done to ensure a sustainable environment which is a source of raw materials for the creative economy, creative activities, education for the initiators of creative ideas, markets and of course also an attractive shopping tourism outlet that characterizes an area (Furtwengler, 2021). Creativity always brings exciting things, especially problem-solving ideas, artistic ideas, and ideas that please everyone interested in enjoying and owning creative goods and services produced by individuals or groups. Therefore, a creativity-based economy has always been attractive because it involves the creation of individuals and groups in a location, region, and agglomeration that impacts business (Corazza et al., 2021;Hardman, 2021).
Pandan woven craft is a superior product as a milestone and macroeconomic driver in Rajapolah District, because based on the calculation the production value of this commodity exceeds the value of agricultural products. This commodity is able to absorb quite a lot of labor and has a special characteristic that is not owned by other regions, so it has a long opportunity to continue to be developed. The designs produced on bamboo crafts are the same as patterns made in other Sundanese areas such as Garut, Ciamis, Pangandaran, Kuningan, Cirebon Regencies. The difference is in the design of the Pandan weaving craft pattern, which has a different designation even though the shape is the same. The creative industry is essential in developing the city at the sub-district scale (Khoirunnisa & Aprianingsih, 2019), which already has an activity whose identity grows from the creativity of its people (Inggriyani et al., 2018;Muhtadi et al., 2017). Culture and customs become thematic cities the cultivation (Achdiani et al., 2019;Tuitjer & Dirksmeier, 2021), culture and customs become thematic cities that have a significant impact on regional development (Mantri, 2021;Maryati & Prahmana, 2019).
Based on several previous researchers, they found and published the viewpoint of production management (Achdiani et al., 2019), knowledge management (Cowen & Hodgson, 2015;Fouts et al., 2016;Munns et al., 1996;Nonaka & Peltokorpi, 2006;Takey & Carvalho, 2015), the use of culture as a source of increasing economic activity in the tourism sector (McKercher, 2020;Rahmat, 2017;Shehade & Stylianou-Lambert, 2020), and the last of which is also widely published is cultural and social (Beghetto, 2021;Puozzo & Audrin, 2021;Sawyer, 2021). So far, publications on how creative industries are framed in geographic and spatial space have not been studied by previous researchers. Then, from a social and cultural point of view, this article is presented to strengthen the development of creative industries in the temporal space. The temporal space is related to having a creative area, namely an area with certain geographical boundaries that provide space for creative 402 Ari Djatmiko et al. / Geosfera Indonesia 6 (3), 2021, 398-425 actors, government, business, community, and society to express themselves in production, and it increases economic activities by respecting creativity.
The scope of the Creative Zone can be divided into creative villages and cities/districts that have at least one or more creative areas that have: space, center, and creative center. Based on the Ministry of Tourism and Creative Economic, Creative Areas can be created or packaged to become tourist objects with unique attractions that can be created to attract several tourists. To explain the creative zone in a city, we consider the criteria for determining it based on the Bandung City Medium Term Development Plan (RPJMD). In one of the targets of the Bandung City RPJMD, there are five indicators of a creative city, namely creative policies, creative infrastructure, law, ethics, and intellectual property rights; creative capacity and economic contribution (Arifianti et al., 2017).
Interpreting development under an overarching framework of innovative entrepreneurial governance, the creative reconfiguration of the built environment (spatial fix) and temporal deferral of crisis and long term speculation on land (re)development (temporal fix) are in place to cope with the crisis of capital accumulation (He, 2017). This article contributes to the field of study of the creative economy and creative industries from a spatial point of view. It helps consider the preparation of a detailed urban master plan.

Methods
This study reveals aspects of performance based on quantitative data such as the number of workers, production, the existence of creative facilities (Kementerian Pariwisata dan Eknonomi Kreatif RI, 2014;Rajagukguk, 2018), classification and grouping of space functions (Pipirigeanu et al., 2014). Then, the data needed is more numeric, although some facts are obtained based on interviews and observations, especially social-entrepreneurship skills (Imran, 2013;Yulaikhah et al., 2019). We used a quantitative approach based on the facts needed in researching the problem and the research results. Quantitative research has the character to test theories through the variables used, usually carried out with research instruments consisting of numerical data that can be analyzed based on statistical procedures (Baxter & Jack, 2015;Creswell, 1991).

Amount of creative industries of pandan woven handicrafts, Rajapolah District
The pandanus woven handicraft industry in Tasikmalaya Regency is one of the handicrafts of Tasikmalaya Regency which is able to create jobs and absorb quite a lot of labor, especially for the people of Tasikmalaya Regency itself. The area known as the center for the creative industry of pandanus woven handicrafts in Tasikmalaya  The increase in labor that affects the number of handicraft industries is also influenced by an increase in the number of workers who increase their skills. Creative industries are usually related to tourist destinations in a region (Ferreira et al., 2018).
Intellectual creation offering is a major element and is related to creativity, expertise, and potentially improving the welfare of society (Yunianto et al., 2021). The need for efforts in creating new knowledge and increasing the value of local heritage in the development of handicrafts in the future. Expectations can further increase the impetus for driving the regional economy (Fahmi & Koster, 2017). The development of handicrafts in Rajapolah has also expanded these efforts, although improvements are needed at a later stage.

Amount of raw materials for pandan weaving creative industry
In obtaining raw materials for the creative industry of woven pandanus, Rajapolah District, it was obtained from Tasikmalaya District such as Cipatujah and Gombong Districts, Central Java Province. The raw materials for cardboard and glue are obtained from the districts of Tasikmalaya, Tangerang and China. The raw materials used in the process of making woven pandanus rely on raw materials from outside the Tasikmalaya Regency, namely relying on Gombong, Central Java. To find out the existing condition of the place for selling raw materials for the pandanus woven creative industry, it can be seen in the Table 2. 405 Ari Djatmiko et al. / Geosfera Indonesia 6 (3), 2021, 398-425

Pandan weaving creative industry marketing
The Tasikmalaya Regency Government through the Industry and Trade Office provides assistance to entrepreneurs to be able to promote and sell pandanus woven products by holding a special exhibition for the creative industry in Tasikmalaya Regency. This event is held 1-2 times a year. From the results of the exhibition and sales, it can increase sales and special requests that are tailored to the wishes of consumers.
The development of information technology in this millennial century must certainly be captured by businesses as a new strategy in marketing their products to be wider and be able to reach all levels of consumers, especially for creative economic actors (Romdonny & Maulany, 2020). Entrepreneurs market their products by promoting them through online media such as social media such as Instagram and Facebook. The entrepreneurs sell the pandanus woven to the industrial center located in Rajapolah District, precisely in Rajapolah Village. Entrepreneurs sell their products outside the Tasikmalaya Regency such as to the city of Bali, Tanah Abang Market, Senen Market Jakarta, Lombok, Central Java and others.
In addition to the national market, this pandanus woven product in Rajapolah District has also penetrated the international market; of which are exported to Japan, China, Spain, Saudi Arabia, the Netherlands, Italy, Egypt and others. The widespread sales of woven pandanus can not be separated from the price of the woven which is relatively cheap and of good quality. The explanation regarding the support of raw materials and the marketing of handicraft products as described previously is in line with the important aspects of the supply chain management approach. Holistically, a professional approach with adequate governmental support could spur the demand while activating the supply-chain. This sector still suffers due to its being unorganized, Lack of education, low capital, inadequate usage of new techniques, and flawed institutional framework (Dayinee, 2021). Rahmasari (2011), explained that through this supply chain management approach, small and medium-sized businesses, especially those based on creative industries, can use this approach to increase the competitiveness of their industry. Because this approach is quite strategic in winning the competition, by focusing on the procurement of logistics. Efficient integration between suppliers, factories, warehouses, and storage, so that goods are produced and distributed in the right quantity, to the right location and at the right time (Table 3). Furthermore, this integration will also affect marketing performance as an important element in the development of handicraft products.  (2011)  The location of the pandanus woven creative industry is spread across all villages in Rajapolah District. Each village has several different pandanus woven creative industries and most of them were located in Rajapolah Village. For more details can be seen in the Table 4.

Analysis of classification level availability of number of labors
The availability of labor in an industrial company has a very important role, because the role of labor is needed in the production process. In the location of the pandanus woven creative industry, most of the workers are local residents or natives of the area. The development of the pandanus woven creative industry in Rajapolah District can absorb quite a lot of labor, especially for women so that it can reduce unemployment and increase community income, especially people in Rajapolah District, for more details can be seen in the Table 5.

Analysis of the classification level of pandan woven product diversity
In the development of the creative industry, especially the pandanus woven creative industry, one must have high creativity in developing its products. Completely new and unique creations have the potential to create diverse products. Although it is in the form of doing creations, the unique style of local products still needs to be a concern. This is in accordance with the view that the economy (society) must be carried out by local actors and does not prioritize profit alone in the development of the creative industry (Putri et al., 2020).
Innovation is also needed in the development of creative industries.
The concept of innovation geography includes innovation elements in the form of actors, organizations including production processes. Actors in innovation include not only individual scientists and inventors, but also the organizations that employ them, such as universities and companies. Entrepreneurs are very decisive for innovation to be developed (Malecki, 2021). The development of handicrafts in Rajapolah has also expanded these efforts, although improvements are needed at a later stage.In Rajapolah District, there are various kinds of products produced from pandanus woven entrepreneurs scattered in villages in Rajapolah District. To be able to know the diversity of the products of the pandanus woven creative industry, it can be seen in the Table 6.

Analysis of classification level amount of production of pandan weaving creative industry
The pandanus woven creative industry does not experience an increase or decrease every year, it tends to remain constant, only the value of the investment price changes. The production of plaiting in Rajapolah District is very diverse depending on the products produced, the more diverse the products, the higher the production will be. For more details, see the Table 7.

Analysis of supporting facilities classification level
The pandanus woven support facilities available in Rajapolah District are shops and village owned enterprises. For more details, see the Table 9.  The analysis in this study provides an overview of the assessment of creative industry zones and spatial distribution in the sub-district area. From several previous studies, it is very limited to provide an explanation of the creative industry zone and only choose one or two criteria in assessing the creative industry. Through the assessment of the creative industry zone, three creative spaces can be determined that show the link between production and marketing, and are related to the supply chain concept.
Each creative space shows a different dominant function, first, a creative space that shows creative and production functions which are realized with objects in the form of handicraft production houses. The second room is a creative promotion center that shows promotion and marketing functions, which are realized by the objects of showrooms, shops/markets, factory outlets and financial institutions (BUMDes and cooperatives). While the third room is a creative education center that shows the function of product development, realized by an object in the form of a multi-purpose building that functions for training facilities as well as research and development.
Based on Table 10, it produces an assessment for the direction of developing creative spaces, creative education centre, and creative promotion centre. The concentration of activities and creative spaces in 4 (four) villages/kelurahan in Rajapolah District is influenced by the agglomeration economy. Concentration of activities in the form of an agglomeration economy is important for creative industries. The urbanization economy that results from the diversity in the service industry is the main source of the agglomeration economy.
Furthermore, the availability of communication, represented by digital access and the convenience of transportation, increases knowledge and thereby improves the urbanization economy (Tao et al., 2019). This is also reinforced by the tendency that creative companies are more clustered than producer service companies and other urban facilities, including in Shanghai. The results show that urban amenities are stronger in explaining local attractiveness, including co-location, accessibility, and high density clusters. This condition strengthens the relationship between industrial agglomeration and creativity (Wu et al., 2022). This condition strengthens the agglomeration of creative activities in Rajapolah District.
The three spatial functions that can be explained by their spatial distribution also show relatively rare results from previous studies. Based on Figure 2, it can be seen that the The following are some recommendations for additional facilities to meet the criteria for creative spaces according to the development proposals that have been directed.
To increase the economic potential in this regency, it is necessary to map the creative industries as dynamic sectors. Currently, there is no mapping data available about the creative Tasikmalaya Regency industry development to be used as a basis for government policy-making and or decisionmaking in developing the creative economy (Rahmah et al., 2020). Efforts to improve the performance of creative spaces are also influenced by strategic policy approaches that encourage successful development of cultural products and for job creation and poverty reduction. Therefore, non-governmental organizations, provincial governments, and private organizations who cannot afford, but willing, needs help to provide the support and basic infrastructure needed to implementation of the program towards the development of the craft sector and continue to create more training program (Oluwayemisi et al, 2020). This also needs to be developed in Rajapolah District in developing its creative industry.
The first stage in creative industry product innovation is often found to be in the form of agglomeration and is characterized by: 1) the need to meet the required inputs and the need to change inputs as often as possible during the innovation period, 2) the need for entrepreneurs to market products to a wide market. These two signs are in line with the criteria for creative spaces and creative promotion centre as existing functions which are recognized in the pandanus woven creative industry as the focus of this study.
Taking into account the existing conditions, a proposal for the development of the pandanus woven creative industry was determined in each village, so that to realize the (3) resources (raw materials); (4) institutions; and (5) financial intermediary institutions (Puspitasari, 2013).  (2019) which conveys the success of bottom up compared to top down in developing creative industries, especially supported by considerations of flexibility and autonomy in structuring industrial land as well as frequent interactions between business actors/artists and villagers as well as increasing the spectrum of entrepreneurial opportunities.
In addition, the government needs to provide support to improve the ability to implement production, marketing and distribution strategies. This capacity improvement is needed in line with Wondirad (2021), because the community still practices handicraft production with its relatively traditional business development strategy. Increasing the added value of the handicraft industry is also carried out through improving relations between local and international producers or consumers. This pattern of linkage also occurs in Rajapolah District, especially in the development of overseas marketing. This is in line with the results of Oyekunle & Sirayi (2018) which describes the relationship of the South African government with foreign companies that can play a key role in developing creative businesses and can shift to higher quality products and processes. However, a supporting development strategy must still be carried out around empowering local companies and building a full range of fiscal, trade, financial and competitive strategies intended to strengthen links between local and international producers. This is done with the specific end goal of increasing understanding of the creative industries in South Africa and to better educate policymakers and support evidence-based policy and decision-making.
Increasing the competitiveness of the handicraft industry on a broad scale can be improved through efforts to increase access to transportation, products and increase information to both suppliers and consumers. It is also explained by Dou et al. (2021)  The development of traditional crafts triggers spatial changes including local public spaces, the re-establishment of local architecture, and the development of cultural landscapes.
All three can also be observed in the conditions in Rajapolah Tasikmalaya handicrafts.
Traditional crafts can develop the local economy and be involved in cultural construction.
This will ensure the natural continuation of the local heritage and culture and the strengthening and development of the premises (Zhang et al., 2021). The development of the handicraft industry in Rajapolah is also related to the development of local wisdom. This is in line with the development of the creative industry in the Special Region of Yogyakarta, which is motivated by local cultural wisdom originating from customary law communities (Yunianto et al, 2021). Not only talking about local culture but information technology is also a form of creative industry. The development of creative industry business activities or small and medium industries (IKM) in the Yogyakarta region experienced significant production growth, sourced from the ministry of industry (Kemenperin) in the 2017 quarter. There was a growth of up to 17.28 percent compared to the same period in 2016. This growth exceeded the growth industry at the national.local level and engage in cultural construction.
With the various descriptions that have been submitted, this study can enrich the four contents of the development of creative industrial zones and fill in the limitations of previous studies. The first content relates to the determination of the criteria for three creative industry zone spaces; the second content relates to determining the function of the creative industrial zone space which is supported by creative and production functions, promotion and marketing as well as the development of creative industrial products; the third content is in the form of determining the spatial/spatial distribution of the creative industry zone which is realized with various relevant zone objects and the fourth content is the enrichment of efforts to develop creative industrial zones based on the results of the analysis of the determination that has been produced previously.

Conclusion
The formulation of assessment criteria for the three spaces in the form of creative this report are that in the future it is suggested that the government can focus more on developing creative industries, especially weaving and other types as regional potential, it is hoped that this report can be a consideration in industrial development and be a consideration in the formulation of determining service centers in the product of the detailed spatial plan.

Conflict of Interest
The authors declare that there is no conflict of interest with any financial, personal, or other relationships with other people or organizations related to the material discussed in this article.