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The Bidayuh society of Sarawak, known as the ‘People of the Land’ stand as a community with a rich cultural legacy (Hyperlocal, 2024).

Based on Project (n.d), the Bidayuh community would be the third-largest indigenous group in Sarawak following the Iban, the Malay. The author explained further that this group include six primary dialectical subgroups which are Bau-Bidayuh, Biatah-Penrissen, Bukar-Sadung, Padawan-Sembaan, Rara and Salako as they were officially called Bidayuh instead of their original name, Land Dayak by the government in 2002.

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According to Hyperlocal (2024), the Rungus society appears as one of the most traditional ethnic groups in the region which situated in the north of Sabah specifically in the Kudat area. They explained further that despite ongoing changes, the Rungus remain committed to their traditional way of life, which centers around rice farming as well as the richness of coconut and banana plantations.

Apart from being scattered across the state in the western, northern and central portions, Joshua Project (n.d) also highlighted that the majority of Rungus community often situated by rivers rather than coastal areas.

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As stated by Anggo et al. (2018), the Sea Dayak or widely known as the Ibans inhabit nearly the whole state of Sarawak. They additionally mentioned that, the majority of this tribe lives together in the Iban longhouse that were made by the materials that can be found nearby such as bamboo, timber, palm leaves, nails and rattan, which until now remains as a symbol of identity and solidarity among them. They continued that the ibans usually lives near the waterfront and close to the highway as it is easier for them to continue their daily activities and communicate with each other.

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The Ibans originally come from the Proto-Malay groups from the Kapuas Valley located in West Kalimantan, Indonesia (Anggo et al., 2018). However, about 15 generations ago in the 1630s, they migrated to Sarawak as they travelled to the state via Kumpang Valley, settled in Batang Ai then split to various places in Sarawak (Anggo et al., 2018).

Anggo et al. (2018) stated that the Iban community also primarily distributed across four main settlements in Sarawak which are Sungai Saribas, Skrang River, Sungai Batang Lupar and Rajang River.

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My Profile

Community 1: Iban

Let’s get to know the Iban community.

Where do they live?

What is Pua Kumbu?

Do you know how Pua Kumbu was made?

References

Community 2: Rungus

Let’s get to know the Rungus community.

Where do they live?

What is Pinakol?

Do you know how Pinakol was made?

References

Community 3: Bidayuh

Let’s get to know the Bidayuh community.

Where do they live?

What is Tambok?

Do you know how Tambok was made?

References

Community 4: Punjabi

Let’s get to know the Punjabi community.

Where do they live?

What is Phulkari?

Do you know how Phulkari was made?

References

Community 5: Minangkabau

Let’s get to know the Minangkabau community.

Where do they live?

What is Rumah Gadang?

Do you know how Rumah Gadang was built?

References

Reflection

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In the view of Kaur et al. (2022), the Punjabi is a smaller group in Malaysia than other ethnics as they are origininally came from Punjab. They continued by saying that this community had migrated since the 19th century as this group includes a mix of religious practices, especially Sikhism and Hinduism.

On the other hand, as noted by Joshua Project (n.d), the term 'Punjabi' refers to the people who speak the Punjabi language as well as those who live in the Punjab area of India and Pakistan. The author also added that many of Punjabi's men are recognizable by their long beards and turbans, although the younger generations of the community have more modern looks and sometimes without these traditional elements.

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According to Joshua Project (n.d) that there are about ninety thousand Punjabis in Malaysia. The author continued by stating that the first community arrived in the 19th century as political prisoners under British rule. Later, the British bought another Punjabis to Malaysia to work as policemen and night watchmen for various industries.

Punjabis make up a small minority within the nearly two million Indians in Malaysia (Joshua Project, n.d).

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Let's get to know the Minangkabau community

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Let's get to know the Minangkabau community

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The Minangkabau or mostly known as Minang people is the majority of the population in the state of Negeri Sembilan in Peninsular Malaysia (Joshua Project, n.d).

The author also highlighted that although the Minang use the national language of Malaysia, Bahasa Melayu, but they also have their own dialect which is influenced by Indonesian linguistic roots. In Malaysia, the Minangkabau community refer to themselves as Orang Negeri (Joshua Project, n.d).

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As what Joshua Project (n.d) mentioned, the Minang people is the majority of the population in Negeri Sembilan.

Orang Negeri are most noted for their adherence to Adat Pepatih but some parts of Negeri Sembilan have moved away from this tradition (Joshua Project, n.d). The author stated that that was influenced by the complexities involved in the marriage ceremonies and the integration with other Malay communities that follow male inheritance customs. The author then continued by saying that however, areas like Kuala Pilah, Tampin, Seri Melati dan Jelebu have maintained their distinct cultural practices and continue to observe this tradition faithfully.

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Assalamualaikum and good day to everyone. My name is Nur Syafiah Zulaikha Binti Zulkarnain, you can simply call me Zulaikha. I am from LG2431A. A bit about myself; I was born and raised in Segamat, Johor. I am the eldest out of six siblings, and English has always been my passion since I was a little girl. Apart from that, I am also a very curious person, so History often intrigues me in every way possible since I would love to know more about certain things. By learning and taking this course, I can kill two birds with one stone as I get to learn more about English and History in one course.

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According to Garton (2019), the beautiful designs of Pua Kumbu that were created by the Iban weavers reflected the contents of their dreams. She also mentioned that in Pua Kumbu weaving, only positive dreams are woven and the Iban weavers need to weave if they have dreamt about it three times.

Apart from that, Pua Kumbu is also considered as a sacred creation since the webbing designs represent their life (Ali, S., 2022). She added to that Pua Kumbu can only be made by a woman who received commands from Petara (God) through their dreams, according to the tribe's belief. Therefore, that what makes Pua Kumbu as one of the heritage of the Ibans.

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The Story of the Master Weaver of Pua Kumbu in Sarawak

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The Story of the Master Weaver of Pua Kumbu in Sarawak

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[0:15] - Madam Bangie ak Embol from Sungai Kain said that she initially does not want to inherit the knowledge of the mordant ritual but then she was visited by spirits in her dreams, urging her to inherit the ritual.

[0:26] - She kept refusing until she was cursed to lose every competition that she participated.

[0:48] - She was visited by the spirits again for the second time and being warned that if she refused again, a disaster will befall the longhouse.

[1:49] - She continued to sell Pua Kumbu in order to raise her kids after her husband died.

[2:02] - During those times, Madam Bangie and other weavers only weave for important ceremonies such as Gawai, marriages and funeral.

[2:28] - Madam Bangie's works of Pua Kumbu has been displayed in major cities worldwide, including London, New York as well as Tokyo and has been recognized by big organization like UNESCO.

[2:56] - She described longhouse as a home for Iban people as it is a place where they work, they return to and gives them a meaning of life.

[3:10] - She mentioned that the weavers usually weave Pua Kumbu, anyaman and other crafts at the longhouse.

[3:38] - Her advice is that it does not matter whether you are from other ethnics, they are all welcome to learn other Iban's crafts and not just weaving.

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The Story of the Master Weaver of Pua Kumbu in Sarawak

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According to Ali et al. (2024), the Rungus community, often referred as the Momogun ethnicity are an indigenous community inhabited in northern Borneo, particularly across the Kudat Peninsula, Matunggong, Kota Marudu, Pitas and parts of Sandakan, Sabah in Malaysia.

The author explained that the Rungus are engaged in traditional lifestyle including farming and communal living within longhouses, which has made them an important focus in ethnographic research and they also known for their vibrant cultural traditions.

The Rungus people are known when it comes to longhouse which is the expansive, extended and structures that accommodate multiple families (Ali et al., 2024).

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Today, the Bidayuh community mainly resides in Kuching, Serian, Lundu, Bau, Penrissen, Padawan and Siburan (Hyperlocal, 2024).

The author also mentioned that traditionally, the Bidayuh people lived in longhouses featuring a central baruk which is a roundhouse for community gatherings. While now, reside individual wood or bamboo homes with brick and mortar structures to preserve longhouses in places such as Ana Rais, Bunukh and Mongkos highlight their dedication to heritage (Hyperlocal, 2024).

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In the view of Goh (2023), Pinakol is a shoulder band traditionally worn by Rungus girls and women to complement their traditional attire and now has become one of the most popular beaded accessories in Sabah. Apart from that, she also mentioned that the Pinakol is typically worn in pairs, crossing over the shoulders and smaller ones can be worn as a single necklace.

The Pinakol is deeply rooted in Rungus culture as the art of crafting these accessories traditionally handed down through generations (Goh, 2023). She explained that in the past,only the girls in each family were taught the intricate skill of beading while the boys either focused more on hunting or working the land alongside their father. She added that over time, this practice faded as a strict tradition eventhough women continue to outnumber men in the beading craft today.

Goh (2023) additionally mentioned that many of the older women will tell you that mastering the art of beading is almost like a rite of passage for Rungus girls when you come and visit Sabah. The women will also suggest that if you are not Rungus but plan to marry a Rungus man, it might be wise to learn how to bead to win the favor of his mother or grandmother (Goh, 2023).

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Lush (2024) has stated briefly that Pua Kumbu is the woven textile that commonly related to the Ibans as this beautiful art is made by a combination of ikat dyeing and backstrap loom weaving. She countinued by saying that in the Iban community, mordant dyeing is strongly ritualistic and the textiles with their symbolic designs, serve to communicate moral as well as spiritual lessons.

According to Lush (2024), the Ibans terminology has grown as it can cover all areas of Pua Kumbu. Here, she mentioned the process of making Pua Kumbu. First and foremost, at the local taya plants, the Ibans must harvested cotton and put them through a pemigi which is gin to extract all of its fibres. Then, they spun the cotton on a wheel called 'gasing' before the base dyeing process begins.

She pointed out that the Ibans used engkudu, engkerbai and tatum plants in a different ratio to achieve the colour browns, yellows and reds as well as rengat plant to make the colour indigo. This action of making colours from plants is called indu' takar, indu' ngar and only women who are selected can perform it. (Lush, 2024). She explained further that the dye recipes are being kept safe and they are valued as the weaver's intellectual property (Lush, 2024).

After that, she continually added that cotton's fibres are soaked in cold dyes before being washed and dried after three days. Lush (2024) proceeded to add that by using the methods of tying (ngebat), unfolding (ngerembai), wrapping (mampul) and dipdyeing the fibre in different colours where the designs will gradually form. She later explained further that once the process of adding colours completed, the yarns are carefully placed on a wooden frame before the nenun (weaving) process begins.

Next, she continued by stated that the side sections of unfolded yarn are worked with the anak and ara techniques. Lastly, a backstrap loom is used to weave the main part of the fabric with a traditional crowfeet pattern at each end (Lush, 2024). These long cloth panels play a role in Iban rituals and can be transformed into ceremonial attire.

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This video shows the example of Pinakol that was made by Rungus people.

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[ Pinakol Sabah ] Kraftangan Rungus Kudat

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[0:05] - Pua Kumbu is the most known Iban's ceremonial textile and it is made using the tie dye technique

[0:37] - Janet Rata Noel, the Tun Jugah Foundation Curator was showing the final process of weaving Pua Kumbu

[1:14] - Janet mentioned that there are many taboos when it comes to making Pua Kumbu as only accomplished weavers could make complicated designs like crocodile or those to do in the spirited world.

[1:34] - The designs reflect the environment and old beliefs of the Iban people.

[1:43] - Janet stated that the design is created by tying the warp threads using raffia string so the colour that has been tied, will retain the original colours.

[2:15] - Janest shows the Pua Kumbu that had just been dyed

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Weaving Pua Kumbu -- Iban ceremonial textile

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As stated by Sarawak Museum Department (n.d), the Bidayuh create various baskets in different sizes, but the most popular basket is the Tambok. The author explained that it has a cylindrical shape and is reinforced with four vertical sticks which is similar to the Kayan ingan.

They continued that the Bidayuh use this basket, worn on their backs and secured by a bark-cloth head strap across the forehead, to transport jungle produce to the market. Unlike baskets crafted by other ethnic groups, the Bidayuh weave their tambok baskets with vertical and horizontal rattan strips rather than the diagonal pattern common to other groups.

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As it was mentioned by Philadelphia Museum of Art (n.d), Phulkari, which means "flower work" (from phul for flower and kari for work), is a traditional embroidery style originally from Punjab. The author explained further that Punjabi women created this art form on large rectangular fabrics which served as shawls, veils, ceremonial wall hangings, bedcovers and other household textiles. They continued that the fabric of Phulkari typically khaddar which is a rough handspun and handwoven cotton and the vividly coloured thread called pat which was unplied silk that often imported from China. Phulkari embroidery involves various stiches, with the darning stich being predominant (Philadelphia Museum of Art, n.d).

In Punjab, Phulkari was considered part of a woman's material wealth which commonly included in her dowry when she got married (Philadelphia Museum of Art, n.d). They added that young girls usually learned this skill from elder women in their family or community. They also mentioned that each Phulkari is unique however the designs are categorized by patterns and base colours with names such as thirma (characterized by a white background), sainchi (figurative) or bagh (garden, characterized by geometric motifs).

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In Negeri Sembilan, the descendants of the Minangkabau continue to maintain the Perpatih tradition, which is a practice that was passed down by their ancestors (Bahauddin et al., 2012). The author continued to explain that the traditional houses are handed down over generations and still exist in the villages located along the rivers and in the upland areas of Negeri Sembilan.

As it was highlighted by Jmm (2016), in Minangkabau culture, the Rumah Gadang or mostly known as Big House, functions as a communal residence for the extended family of the Minangkabau people which follows their matrilineal system. Jmm (2016) continued by stating that this house is commonly described as 'gajah menyusu anak' which means elephant suckling her young that highlights the contrast between the large house and the smaller rice barn beneath its protective roof. The unique shape of the roof is usually compared to the mountain that surround the area, particularly the Bukit Barisan range (Jmm, 2016). The author added that the walls of the Rumah Gadang are intricately decorated with elaborated carvings of animals and plants, as each symbolizing virtues such as courage (buffalo), teamwork (duck), awareness (cat) and fortune (cicak), where it was all drawn from the Minangkabau's daily lives and folklore.

Jmm (2016) further elaborated that Minangkabau architecture is distinguished by the buffalo horn-shaped gonjong, symbolizing both origins of the Minangkabau people and the importance of daughters in their culture. The author went into more detail by stating that the gonjong is closely tied to women as reflected in the tengkuluk tanduk which is a traditional female headpiece that mirrors the horn shape. This brings to the fact that the number of buffalo horns on the Rumah Gadang's roof signifies the number of married daughters in the family (Jmm, 2016).

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Let's see how the Pinakol was made by the Rungus people. As it was stated by Bell (1996), the Rungus employ an off-loom technique where the beads are strung solely on warp threads without the use of cross threads. She continued by saying that these warp threads are fastened to a dowel which can be held between the toes or secured in a heavy ceramic jar for stability as both sections of Pinakol are created simultaneously to maintain uniformity in the beadwork.

Next, the beads are carefully strung by hand onto the twisted ends of two warp threads without using a beading needle (Bell, 1996). Lastly, the author added that the thread ends are coated with beeswax to make the stringing process smoother and the warp threads are interchanged to create the weave.

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[0:16] The process of making Pinakol is very intricate since the beads are threaded one by one.

[0:35] The process also requires sharp eyesight and skill to ensure that the beads are all aligned according to the desired pattern.

[0:46] Beewax is used as a glue to make it easier for the beads to go onto the thread.

[1:18] We can clearly see how the Rungus people make Pinakol by using beads and threads.

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Ali, R. A. D., & Yaqin, L.N., (2024). Cultural Practices and Lifestyle of the Momogun Rungus Tribe of the Bavanggazo Longhouse Community in Sabah, Malaysia: Ethnographic Notes. International Journal of Linguistics and Indigenous Culture, 3(2), 1-17. doi :https://doi.org/ 10.36312/ijlic.v3i2.2058

Bell, B. (1996, October 11). Beads and Beadwork of the Rungus of Sabah. http://www.thebeadsite.com/rungus03.htm

Goh, M. L. (2023, August 21). Visiting Sabah? Get your hands on some of these beaded beauties. The Star. https://www.thestar.com.my/lifestyle/travel/2023/08/19/visiting-sabah-get-your-hands-on-some-of-these-beaded-beauties

Hyperlocal, N. (2024, January 18). Getting to know the Rungus community in Sabah. NST Online. https://www.nst.com.my/news/nation/2024/01/1002766/getting-know-rungus-community-sabah

Joshua Project. (n.d.). Dusun, Rungus in Malaysia. https://joshuaproject.net/people_groups/14593/MY

K3-36 AUBRY FERNANDO CHARLES M. KASTUM. (2021, July 18). [ Pinakol Sabah ] Kraftangan Rungus Kudat [Video]. YouTube. https://www.youtube.com/watch?v=KmP9FhUl13o

Randavi creation. (2022, May 6). membuat PINAKOL ( selendang ) [Video]. YouTube. https://www.youtube.com/watch?v=7XSxLPYPr3E

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As what Ibrahim et al. (2017) had highlighted that for the Tambok that is made without patterns or motifs, the process of preparing the rattan and making the Tambok is more simple. They continued by explaining that the process begins with rattan collected from the forest. After being obtained, the rattan is cut with a knife according to the desired size to facilitate the drying process when left to dry under the sun. Once the rattan sufficiently dry, the rattan is split and shave and to create a smooth structure, the rattan is flattened using a tool called 'Krikan'. The rattan must be prepared in uniform and consistent sizes to produce a refined Tambok. Therefore, a traditional tool called 'Sijangat' is used to create rattan of the same size (Ibrahim et al., 2017).

The weaving process begins with the formation of the base frame of the Tambok using a type of rattan called 'Simoih' (Ibrahim et al., 2017). The same type of rattan is also used for weaving the mouth of the Tambok. For the body of Tambok, a type of rattan called 'Awoh' and 'Sega' are used in its construction (Ibrahim et al., 2017).

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This short video shows how an old woman from the ethnic Bidayuh makes rattan basket on her own.

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Hyperlocal, N. (2024, January 17). Unveiling the Bidayuh heritage in Sarawak. NST Online. https://www.nst.com.my/news/nation/2024/01/1002419/unveiling-bidayuh-heritage-sarawak

Ibrahim, A., Ginnea, B., Halim, H., Rahman, H., Rajaali, I., Mustafa, N., & Fakulti Seni Gunaan dan Kreatif, Universiti Malaysia Sarawak, Kota Samarahan, Sarawak. (2017). Seni Pembuatan Kraftangan Masyarakat Bidayuh, Tambok. In Wacana Seni [Journal-article]. https://www.researchgate.net/publication/316919159

Project, J. (n.d.). Land Dayak, Biatah in Malaysia. https://joshuaproject.net/people_groups/print/10830/MY

Sarawak Museum Department. (n.d.). Basketry. https://museum.sarawak.gov.my/web/subpage/webpage_view/107

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In the Malay Archipelago, cultural elements play a crucial role in shaping the architectural features of traditional houses which leads to the development of unique local architectural forms (Bahauddin et al., 2012).

Bahauddin et al. (2012) further the explaination by mentioning that the Minangkabau houses in both regions using a simple method with locally sourced materials. The author continued that the primary building material is timber, which forms the main structure of the house. These materials used are renewable or farmable, making them environmentally friendly in comparison to modern construction materials as these materials are also easily accessible and require minimal effort (Bahauddin et al., 2012).

Invisible borders within the house help to create a sense of openness, making the interior appear more spacious and airy (Bahauddin et al., 2012). The author proceeded to add that since there is no ceiling, the roof structure is left open and exposing the underside of the roof. They continued by stating that this open-roof design creates a spacious with an almost double-volume effect. As it was mentioned by Bahauddin et al. (2012), this design is particularly suited to tropical climates as it provides a cool atmosphere by shelding the space from heat, radiation, rain and humidity. The author went on to say that air vents carved to enhance both form and functions as well as support the house's natural cooling system.

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This video shows the surrounding of Rumah Gadang in Negeri Sembilan.

[0:34] Pictures of ground floor, upper floor, one of the carving arts in Rumah Gadang, house decorations

[0:44] ' Mesin getah bunga' and 'lesung'.

[1:15] There was also Ta'lempong performance.

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RUMAH GADANG, Seni bina asli Negeri Sembilan🤩

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The embroidery of Phulkari is crafted using the darning stich, where the length of each stitch varies to highlight the embroiderer's skill (Suneja, 2017).

As it was highlighted by B. Kaur et al. (2022), traditionally, Phulkari embroidery was created on handwoven materials like khaddar (a thick hand-spun cotton) or malmal (a light, fine muslin cotton) as these fabrics were easily accessible which automatically made them ideal choices for intricate needlework. The author also mentioned that the selection of fabric played an important role in determining the texture of a phulkari piece.

However, as time passed by and commercially produced fabrics become more widespread, Phulkari embroiderers began to experiment with different materials such as silk and synthetic fibers (B. Kaur et al., 2022). The author stated that despite of fabrics widely produced for commercial purposes, there are many traditionalists who continue to favor handwoven textiles for their quality and authentic charm.

On the other hand, B. Kaur et al. (2022) wrote that in traditional Phulkari, the embroidery is done with silk threads known as pat or paat which selected for their vibrant colours and natural shine. The author continued by saying that these threads are typically hand-spun and naturally dyed, as they add a unique luster.

Colour choice is highly symbolic in Phulkari making (B. Kaur et al., 2022). The author explained by giving examples such as red is commonly chosen which representing fertility and good fortune, while colours like yellow, blue, green and white are also used to convey various cultural values and sentiments.

Lastly, the author also briefly stated the major Phulkari stitches which are Satin stitch, Holbein stitch, Herringbone stitch, Buttonhole stitch as well as the Cretan stitch.

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[0:34] The creator of this video asked her mom to describe the Phulkari that she has at home

[0:40] Her mother does not remember when it was made but the Phulkari was made by her paternal aunty

[0:46] She then explained that her aunt spun the cotton, wove the fabric and dyed it with that colour

[0:54] After the fabric was dyed, her aunt gathered a variety of silk threads and began embroidering the border from the underside of the cloth.

[1:11] They estimated that, that Phulkari she has might be over 90 years old

[1:46] She explained that Bagh, the Phulkari was used and passed down to a girl when she got married.

[3:10] The Bagh was also used during the oil ceremony.

[3:35] The Phulkari is named Bagh because it has a concept they called Charbagh, meaning that the Phulkari was divided into four different areas and you got the design of pathway in between the areas.

[6:09] The second design is called Kyan, which smaller plots were made for the flowers.

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Joshua Project. (n.d.). Punjabi in Malaysia Profile. https://joshuaproject.net/people_groups/print/14483/MY

Kaur, B., Agarwal, S., & Mody University. (2022). Techniques and Stitches Used in Traditional Phulkari Embroidery: An In-depth Exploration. IJFANS INTERNATIONAL JOURNAL OF FOOD AND NUTRITIONAL SCIENCES, 11(4), 742–745. https://www.ijfans.org/uploads/paper/f3730ab000d21a04d4359d6ed8630f22.pdf

Kaur, S., Bishen Singh, G. S., David, M. K., Shanmuganathan, T., & Dumanig, F. P. (2022). Language Choice among the Punjabi Sikh Community in Kota Kinabalu, Sabah, Malaysia. IARS’ International Research Journal, 12, 5. https://www.redalyc.org/journal/6638/663872727007/663872727007.pdf

Philadelphia Museum of Art. (n.d.). Phulkari: Embroidered Textiles of the Punjab. https://philamuseum.org/collection/curated/phulkari

Real Kampung Chick. (2022, February 11). My Punjabi Heritage | Phulkari Bagh [Video]. YouTube. https://www.youtube.com/watch?v=34xSdFNSeZ0

Suneja, S. (2017). Phulkari, The Journey of a Craft Revival. In Textiles Asia. https://www.sahapedia.org/sites/default/files/2019-03/TA%20May%202017%20Phulkari.pdf

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Bahauddin, A., Hardono, S., Abdullah, A., & Maliki, N. Z. (2012). The Minangkabau house: architectural and cultural elements. WIT Transactions on Ecology and the Environment. https://doi.org/10.2495/arc120021

Jmm, V. a. P. B. M. V. (2016, April 4). The Minangkabau of Negeri Sembilan. Museum Volunteers, JMM. https://museumvolunteersjmm.com/2016/04/04/the-minangkabau-of-negeri-sembilan/

Joshua Project. (n.d.). Minangkabau, Orang Negeri in Malaysia. https://joshuaproject.net/people_groups/14208/MY

Laksana Sutera. (2021, December 2). RUMAH GADANG, Seni bina asli Negeri Sembilan [Video]. YouTube. https://www.youtube.com/watch?v=gjOcq69uvwI

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Anggo, F., Laja, L., & Institute Of Design And Innovation, University Malaysia Sarawak. (2018). The Function and Role in the IBAN Social Rank in their Communities. International Journal of Engineering & Technology, 7–2.29, 639–641.

Ali, S. (2022, December 19). Jangan bercakap ketika tenun pua kumbu. Berita Harian. https://www.bharian.com.my/wanita/fesyen/2022/12/1041304/jangan-bercakap-ketika-tenun-pua-kumbu

Borneo B. (2017, April 18). The Story of the Master Weaver of Pua Kumbu in Sarawak [Video]. YouTube. https://www.youtube.com/watch?v=E_HPouVih9o

Garton, C. (2019, December 19). Dreamweaving with the Iban. PieceWork. https://pieceworkmagazine.com/dreamweaving-with-the-iban/

Lush, E. (2024, September 8). Iban Pua Kumbu Weaving, Malaysia — The Textile Atlas. The Textile Atlas. https://www.thetextileatlas.com/craft-stories/iban-pua-kumbu-weaving-malaysia

The Star. (2015, June 6). Weaving Pua Kumbu -- Iban ceremonial textile [Video]. YouTube. https://www.youtube.com/watch?v=C8pyzaLphL0