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I Forge Iron

Surviving Against the Odds


evfreek

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This book was written by S. Ann Dunham, whose name is mainly recognizable through that of her son, Barak Obama. Despite the title, it is primarily about blacksmithing. It does contain an academic review of the recognized anthropologic historians of Indonesia, including Geertz who wrote "Peddlers and Princes". Although the book contains many references to subjects which may be considered to be politically supercharged today, such as government corruption, class stratification, and perception and racism of other cultures, it is primarily focussed on blacksmithing, and as such provides an intriguing window on Indonesian blacksmithing practice. The primary product of Indonesian blacksmithing is agricultural tools, such as hoes and pick axes. The book is not a how-to book which tells how to make these implements. Rather, it seeks to explain how blacksmithing works in society, economy and culture. It contains rich color and black and white photographs of blacksmith shops, and explains their detailed operation, including such interesting things as the progression of a blacksmith's training and career ending with his succumbing to various work related disabilities. It also contains a helpful translation guide at the end with a list of blacksmithing terms.

The shop functions more like older shops than new in the West. The master smith is called the "empu". He is the top ranking person in the shop, and he rarely strikes the metal. Instead, he is responsible for pulling the metal when the heat is correct, holding the piece on the anvil, directing the strikers, and heat treating the implement when it is done. The empu usually is too old to do the physically demanding striking, and his right hand is often knotted due to repetitive motion wear from tongs (which are held in the right hand). The second rank is held by the "pajak" who are the strikers. Shops which make small implements have one of these, while those making larger tools use 2-3. For example, in regions with heavier soil, the hoes may be 50% larger. The "takang ubub" is the lowest rank, and he operates the bellows, usually double chambered pipes, or Chinese style box bellows. The "takang kikir" does the cold work and finishing, and this is traditionally not a held position, but the others fill in as shop schedule dictates. Note the use of the male gender. Due to cultural taboos, women are not allowed near the fire, and (rarely) do peripheral work.

The author has a keen eye for descriptive details of the blacksmithing industry, and an erudite, though academically dry, presentation. The politics may be enlightening, especially to those who follow the red-blue struggle and deadlock characteristic of these times. All in all, it is a captivating read, full of amazing facts and connections around the facinating story of blacksmithing in Indonesia.

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