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The Iban People is most known for their weaving of the Pua Kumbu.

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The Rungus people are known for their traditional beadworks and also the hand woven textile called magavol.

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one of the most significant craft in the Orang Ulu Kenyah community is their bead necklace.

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The Dusun Tindal of Kota Belud is rich with weaving craft and Kinulung is one of those crafts.

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The Mah Meri tribe is very well known for their amazing intricate detail of wood carving.

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Pua Kumbu is a hand woven textile that is produced by the Women of the Iban community.  It is a century old woven textile that is the mirror into the culture, belief and folklore of the people. The pua is made with what people call the ikat weaving, powerful with its allegorical symbol. A pua kumbu made by a master weaver can go up to hundreds of ringgit.

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There are no written documents of the cultural history, therefore is is quite impossible to trace an accurate record of The Pua Kumbu textile tradition. The history is best remembered through oral Tradition passed down from generation to generation in the form pengap, timang, pantun, sabak and renong by the bards and belian by shaman.

According to the Oral history, the legend goes that, Singalang Burong, the God of War, taught his grandson, Surong Gunting, the use of the most sacred of all the Pua, the Lebor Api, after a period of warfare.

The tradition was established that the heads captured inwar should be received ceremonially with the Lebor Api, which has to be dyed a deep red color, and was often woven using a special supplementary west technique (sungkit) . This pua was woven at Batu Gelong, the long house abode the goddess of weaving , Kumang, Indai, Abang and Lullong.

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In the Iban Pua series, they are three pua:

1.Pua Kumbu
2. Pua Sungkit
3.Pua Karap

nowadays, Pua Sungkit are no longer avalaible due to the tedious weaving skill.

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The Pua Kumbu is significant in the tradition of the Iban people. It is essentially a sacred cloth which may tell mythological story, a personal tale, or represent a historical archive.

Pua Kumbu is used in many rituals of a person's life from birth to death.  As soon as a baby is cleaned after being birthed, the baby is laid and wrap onto the Pua Kumbu.  When a relative dies, the Pua Kumbu are hung up as curtains to shelter the body of the dead relative.  they are also used in farming rituals.

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the symbols used on the Pua Kumbu are :

- half birds motifs
- Kelikat , the zig-zag pattern that is repeated on the pua kumbu
- sepit api or fire tong motif

this is a metaphor for strength, endurance and the supernatural power to withstand fire, a virtue of Selampandai the supreme spirit who created man with fire tongs at his blacksmith's forge

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as we all know, the Burung Kenyalang is Sarawak's state symbol. it is a symbol known by aficionados worldwide.

The Burung Kenyalang is very sacred to the Iban tribe. the Kenyalang can be seen on their totem poles and countless carvings. During a festival that is dedicated towards the Kenyalang, wooden carving of the bird are paraded though the longhouse and given offerings to each of the families.

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Inu is the bead necklace of the People from the Kayan community in Sarawak. These Handicraft are usually made by the women in the community. Inu paun or Inu layak are used by the women in the community.  The men necklace are called Lavang

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According from an interview with a Mdm Delia Asong Ngau done by Hanah Avit, the beads that are used in their crafts originally came from the Javanese people of Indonesia. The beads that they used are made from class and clay. The Paun (original) bead are made from clay. the beads made from clay are more durable than the one made from glass.

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The Kayan people wear these bead necklace in their everyday life, for meetings, big gathering, wedding and etc. The art of making these beads necklaces are usually passed down from generation to another generation.

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for these bead necklaces, there are no particular symbol or motif used. What differentiate them are the types of beads and the type of necklace it is

in the Old days, since beads are hard to get, they are usually owned by the aristocrats, these necklace used to be a show of the status of the person. Nowadays, people where them no matter what the status are.

the size, shape and arrangement of these beads are also important as they have a specific arrangement where they can tell the tribe that they come from.

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Kayan Beads Necklace|Hannah Avit|International Borneo Festival 2018

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Magavol is the handwoven textile of the peole of Rungus in Sabah. Magavol are woven using cotton thread. in the old days, the Rungus people woud make and dye their own thread, but to the modernization, the Rungus people use comercial cotton thread that are sold on the market. The skill of making magavol is disappearing as the youngster of the from the community are no longer interested and have no time to learn the skill of magavol. Some of the weaver would have to go to another kampung to learn the skill. One of these woven textile can go up to hundreds of ringgit.

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The Motif that are used in for the magavol are inspired by the nature and dreams that came to the weavers.

some of the motif used are:
Inugarang – a motif that inspired  a lizard.
Linopung – motif that are inspired by a snake.
Vinusak – motif that are inspired by flowers.

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the use of these Handwoven textile are for their traditional garment which are used for weddings, festivals and special occasions.

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The dominant colour of the hand woven textile are black, red, white and yellow. The black color is mainly used because of a belief that black represent the power or color of the deity that can protect the wearer from evil entities.

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Kinulung comes from the word 'Okulung' which means curving in Dusun Tindal. In the past, Kinuling as used as a food cover or food receptacle, nowadays, the kinulung is more for the purpose of decorating. The curved shape of the Kinulung is due to the material that is used to make the craft  which made it appropriate for the use of it.

Traditionally the Kinulung is made from natural material such as bamboo and rattan.

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The Kinulung weaving is a fairly easy and simple technique, but it is still a time consuming process. Weaving with small thin bamboo strip requires skill and wisdom acquired over time. The process of weaving can be done at any time of the day.

the stages of making a Kinulung are defined according to a sequence that is known among the Dusun Tindal tribe. these sequence are:

1) Mokiburuon - finding bamboo or suitable weaving material
2) Momutul - cutting the tulu and poring
3) Mamalapak - splitting and removing bamboo skin and inner part
4) Mongila - smoothening  bamboo skin and inner part
5) Momuhus - trimming bamboo strip and dulung (frame)
6) Mangatu - weaving process
7) Monginsok - "compacting" to ensure the weaving is "tight" (without gap or space)
8) Momodulung - forming mainframe
9) Momolongkop - ensuring mainframe is neat and tied with rattan
10) Momolilit - weaving rattan on the edge of the dulung

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What are the wood carving of the Mah meri people?

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What are the wood carving of the Mah meri people?

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The word carving of the Mah Meri tribe are a direct expression of their traditional beliefs and dynamic view of their jungle world.

These sculpture are representation of the malevolent or benign supernatural being that coexist with them in the jungle. The otherworldly being could be predisposed towards or against human with power either to aid or to obstruct.

the sculpture are usually carved from existing driftwood collected by the tribe members called Nyireh Batu (Xylocarpus  spp).

these carving are made by the men of the tribe using parang or machete to obtain the desired outline. The fine details are finely worked using the sharply pointed pisau rotan, a one-sided long knife with a thin rattan handle.

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Apart for the use of ritual and dance, the sculpture play an important role as object of healing, where the shaman or medicine man of each tribe is said to be able to transfer the sickness or spell from the victim to the carving. These carving are known as Sepali , are discarded into the river, sea or buried as the patient recover. The Mahmeri tribe believe that their Moyang Tijau Didi, Moyang Belangkas and Hantu Ketam live in the sea, mangrove swamps and river mouths.

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In the old days, the Kinulung was used as a food cover that would protect the food from wild animals such as cats and dogs, during festival it was also sometime use to offer food to guest. Nowadays, the Kinulung is more for the decorative or for commercial purposes.

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some of the taboo is that before they carve a piece of wood that they want to carve, they need to take metal hammer and knock on the wood. if the wood sounds like how a wood is suppose to sound like, then the wood is safe to carve, if the sound is not how a wood sounds like, then they would have to

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While the men of the tribe a wood cavers , the women of the tribe are weavers.

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The significance of the weaving products.

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The significance of the weaving products.

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Before, the people of the Mah meri tribe was weaving for the use of domestic product for themselves, now they are weaving in order to help gain income for the village and their family. the products that they weave are earrings, purses, bookmarks , bracelets and many more.

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Pinakol is the craft that dominates on the traditional costumes of the Rungus tribe. These beadworks are produced by the women of the tribe , it was popularized through the making of the product such as the sash, bracelet, necklace and head decorations. the motif used in for these beadworks are the same as the magavol.

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https://museum.sarawak.gov.my/page-0-0-109-Textile.html

(2008, February). Retrieved from http://sarawakdotcom.blogspot.com/2008/02/iban-craft-pua-kumbu.html

Malaysian Handicraft Development Corporation. (2007). Crafted in Malaysia (2nd ed.). Kuala Lumpur, W.P Kuala Lumpur.

Ibrahim, I. (2011). Warisan Motif dan Corak Etnik Sabah (4th ed.). Kota Kinabalu, Sabah: Universiti Malaysia Sabah.

Kindoyop, S., Tugang, N., Jusilin, H., & Kimwah, J. (n.d.). Traditional Kinulung Craft Weaving of the Dusun TIndal of Kota Belud Sabah.

Lin, R. (2016, February 2). Mah Meri Carvers do it with Spirit. Star2. Retrieved from https://www.star2.com/culture/2016/02/02/mah-meri-carvers-do-it-with-spirit/

Oxford University Press. (2000). Sarawak Craft. Shah Alam, Selangor.

Soon, I. (2018, March 8). These Mah Meri Women are weaving a better future for their community. Star2. Retrieved from https://www.star2.com/family/2018/03/08/weaving-hope-and-dignity/