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Hi there! ₍⑅ᐢ..ᐢ₎
My name is Zalinda ^^ but for today’s adventure, just call me Linda, your guide into the hidden masterpieces of Malaysia’s Indigenous communities.

We’re about to venture on a journey I like to call “LINDAventures into Indigenous Artistry.”
This isn’t just about traditional tools or decorations but this is about living culture!
We’ll visit five fascinating groups: the Mah Meri, Orang Seletar, Jah Hut, Temiar, and Semai. Each with their own craft, their own story, and their own heartbeat. You’ll see how craft is not just art but it’s also identity, survival, belief, and resistance.

Today, I hope to show you not only what they make but why it matters because when a carving holds memory, or a basket tells a story, we’re not just looking at something beautiful... we’re looking at a living legacy.

So open your eyes, and more importantly, your hearts because these crafts may just carve their way into your soul.

Let’s begin our journey!

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The goal of my presentation is to introduce you to the amazing handmade crafts of Malaysia’s Orang Asli groups and to show how their art isn’t just beautiful, but meaningful, sacred, and tied to their way of life.

(P/S: some of them shared the same crafts)

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Table of Contents: Orang Asli Craftsmanship

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Table of Contents: Orang Asli Craftsmanship

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1. The Spirit Carvers of Mah Meri

2. The Sea Nomads and Their Floating Craft

3. The Mythical Hands of Jah Hut

4. The Dream Weavers of Temiar

5. The Innovative Brain of the Semai People

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The ancient Mah Meri tribe, sometimes referred to as the ‘Masked Men of Malaysia’, is one of 18 indigenous communities living in Peninsula Malaysia.

They are widely regarded as highly-skilled mask makers; some of their handicraft have been known to fetch thousands of dollars.

Location : Selangor, Carey Island

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1) Mask Masking

2) Weaving (Pandanus Leaves)

3) Wood Carving

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The masks are made 100% from wood and are handmade.

The Festival Topeng Antarabangsa Malaysia 2015 showcased live demonstrations of the carving process.

The mask carvers said it takes about one month to complete a mask.

After complete carving, the mask is waxed, sun-dried, then waxed again three times and sun-dried for a day before being polished for shine.

Their unique designs are based on traditional patterns passed down through generations or learned since childhood.

The material that they used is nyiring wood for its red color and color durability (long lasting).

The carvings tools that usually used are large and small chisels.

The masks are influenced by cultural practices, used in prayers and dances.

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Pandanus leaf weaving is a significant craft in the Orang Asli community, where they process the leaves into colored strips.

A list of an items made from pandanus leaves:

Mats

Baskets

Pouches

Hats

Personal adornments

Not only as souvenirs but The Mah Meri tribe uses pandanus in rituals such as...

Welcoming Ritual: A special mat woven with unique motifs is used to cleanse the feet of honored guests.

The mat is used once and then gifted to the guest as a souvenir.

Lastly, they also crafted daily hardware such as The Sungu basket.

It is invented to store rice seeds.

Also made by using the thorn weaving technique. It is believed to protect the contents of the basket.

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Mah Meri crafts are infused with mystery and tradition, reflecting their cultural heritage.

Carvings are inspired by animistic beliefs in nature spirits.

Wood sculptures are made from hardwood like Nyireh Batu or Nyireh Bunga.

Each time a tree is cut for carving, a new tree is planted to maintain balance in the village between humans and nature (this represents a give-and-take concept).

Spiritual significance: Sculptures were used in rituals to remove sickness and were discarded afterward, adding to their rarity.

One of the carver, Gali Adam, explains that sculptures were a way to transfer pain and sickness, believed to heal by drawing out invisible afflictions.

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The Orang Seletar are an Indigenous group in Malaysia who live by the sea. They used to live on boats made from wood and leaves, moving from place to place along the Johor Strait. They lived by fishing and gathering seafood like crabs and shrimp.

They relied heavily on their multifunctional pau kajang – a wooden boat that typically houses a family of up to six people. Besides serving as a mode of transportation, the vessel was also their home – a place where they slept, cooked and played.

Location : Johor, Southern Coastline

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1) Boat Making and Floating Lifestyle

2) Fishing Gear Crafting

3) Mat and Basket Weaving

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Boat Name – Pau Kajang:
The traditional boat they lived on is called pau kajang. This boat served as both, home and transport.

Materials Used:

Hull: Made from meranti or seraya wood because both have a same strong durability, water-resistant tropical hardwoods.

Roof: Thatched with mengkuang (screw pine) leaves, woven tightly to protect from rain and sun.

Functionality:
The boat was a complete living space because they slept, cooked, fished, and raised families on board. It allowed them to live nomadically along coastlines, rivers, and mangrove swamps.

Design:
The design was simple but practical, suited for shallow waters and easy maneuvering among mangroves and narrow rivers.

Skills Passed Down:
Boat-building skills were passed through generations, with techniques often learned informally within the family or community.

Cultural Significance:
The boat wasn't just a tool but it symbolized freedom, identity, and survival. It allowed them to live closely connected to the sea, which shaped their knowledge and culture.

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Orang Seletar are an indigenous group living along the Johor Strait.

They have a strong tradition of making their own fishing gear.

Tools are handmade using natural materials from the environment.

The main "ingredients" that they used is bamboo.

These are some of the examples of traditional fishing tools:

Bubu – bamboo fish traps

Tikam – bamboo spears for catching fish

Pancing – simple handlines with hooks

Crab traps – made from bamboo or wire

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They are artisan who take pride in their craftwork.

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The process of weavering is time-consuming. Before the weavers could even sit down to start weavering, they first have to find the plant (if they don't plant it in their farm) and process the raw material using improvised tools.

Tools used: Parang, jangka, pelurut, penyisip.

Step 1: Harvest mengkuang leaves using a parang.

Step 2: Cook the leaves over fire, then cool them in the river overnight.

Step 3: Remove the spine, slice leaves with a jangka, and soften with a pelurut.

Step 4: Soak leaves for a few days until white, then dry under the sun.

Step 5: Weaving takes 3–4 days; some add embroidery to make crafts thicker and stronger.

Pricing: Depends on size, pattern, technique, and material.

Baskets: RM10–RM50

Price varies by size, strip quality, and weaving complexity.

Pouches: RM10–RM40

Also based on size and detail.

Mengkuang mats (Tikar): RM40–RM150

Rattan or bertam mats: Up to RM250

Higher prices for fine strips and complex kelarai patterns.

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1) Wood Carving

2) Basketry

3) Beadwork

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The Jah Hut people carve these figures, known as kemoit or bes, drawing inspiration from their animistic beliefs. These carvings are not merely artistic expressions but serve as mediums to connect with the spiritual realm, often used in rituals to ward off illnesses or misfortunes.

Jah Hut carvings are based on spirits that cause illnesses, called bes.

Each sculpture represents a different illness, so the designs are varied and often grotesque.

They use hardwoods like merbau and rengas for their carvings.

Chainsaws are used to cut trees and shape the rough form, while chisels and mallets are used for detailing.

While carving is mostly done by men, women help with polishing the finished piece.

Materials Used

Types of Wood:

Carapa moluccensis (local mahogany)

Alstonia spatulata (pulai)

Other hardwoods like merbau, rengas, and nyireh batu

Carving Techniques

Spiritual Preparation:

Carving often begins with a prayer or mantra to show respect to spirits and ensure safety during the process.

Carving Process:

The wood is typically carved while still wet, making it easier to shape.

Designs often depict spirits (bes) and are guided by visions or dreams.

Tools Used:

Traditional tools like chisels, knives, and mallets are commonly used.

Some artisans may now use modern tools, but many still preserve traditional techniques passed down through generations.

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The Jah Hut community, a sub-group of the Senoi people, mainly lives in the Temerloh and Jerantut districts of Pahang. The name “Jah Hut” means “forest people,” with “Jah” meaning man and “Hut” meaning forest. Most of them live near the Krau River, within the Krau Forest Reserve. They are generally unfamiliar with the outside world and maintain a close connection to their traditional lifestyle.

Location : Pahang

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The Jah Hut people, an indigenous group in Peninsular Malaysia, possess a rich tradition of basketry that reflects their deep connection to nature and cultural heritage. Their basket-making practices are not only functional but also carry spiritual significance.

Materials Used

Rattan and Bamboo: Primary materials for crafting durable and flexible baskets.

Mengkuang (Pandanus Leaves): Utilized for weaving mats, bags, and baskets, showcasing intricate patterns.

Weaving Techniques

Traditional Plaiting: Employing age-old methods passed down through generations, artisans create baskets with unique designs and patterns.

Mud-Dyeing: Some contemporary baskets are mud-dyed to highlight patterns, blending traditional techniques with modern aesthetics.

Cultural Significance

Functional Use: Baskets serve practical purposes in daily life, such as carrying goods and storing items.

Spiritual Practices: Certain baskets, like the sepili, are used in traditional medicine to cast out illness-causing spirits, reflecting the intertwining of craft and spirituality

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The Jah Hut people, an indigenous group in Peninsular Malaysia, are renowned for their intricate beadwork, which serves both decorative and cultural purposes. While specific details about Jah Hut beadwork are limited in available literature, their craftsmanship is part of the broader Orang Asli artistic traditions.

Materials and Techniques

Natural Materials: Traditionally, Jah Hut artisans utilized natural materials such as seeds, bones, and stones for bead-making.

Modern Incorporations: With external influences, glass beads have been incorporated, enhancing the vibrancy and complexity of designs.

Weaving Methods: Beads are meticulously woven or stitched onto fabrics, creating patterns that often hold cultural significance.

Cultural Significance

Adornment: Beadwork is commonly used in personal adornments like necklaces, bracelets, and traditional attire, reflecting individual and communal identities.

Usage in the Ritual: Certain beadwork pieces are believed to possess protective qualities and are used in rituals to ward off illnesses or negative energies.

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REFERENCE.docx (Jah Hut).docx - Microsoft Word Online

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The Temiar are one of the largest Orang Asli groups in Peninsular Malaysia, living in the uplands of Kelantan, Perak, and northern Pahang. The word “Temiar” comes from “Thmiir,” the name used by the Semai for their northern neighbors. Temiars often call themselves “people of the hills” or “people of the forest,” and their language “hill speech.”

Location : Perak & Kelantan

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1) Weaving

2) Musical Instrument Making

3) Traditional Clothing Decoration

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This women over here name Abok a/p Angah, originally from Kampung Tenrek in the northern Malaysian state of Kelantan. 

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Handicrafts were originally created to fulfil the needs of daily life. Handicrafts encompass household hardware items like cooking utensils, food and drink containers, food preparation tools, mats, and baskets.

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Karaniing (Kereb): A traditional bamboo tube zither, known as karaniing or kereb, is played during ceremonies. This musical instrument is crafted by carving strings directly from the bamboo, showcasing the Temiar's ingenuity in utilizing natural resources

In case you are wondering how did the Temiar people craft their musical instrument, this is how they do it!

Material Selection: The process begins with selecting a suitable bamboo tube (serves as both the body and resonator of the instrument).

String Formation: Two to four strings are carefully cut from the bamboo's outer surface and left the remaining attached at both ends.

Tuning: The strings are tuned to specific intervals (usually a minor third) to produce harmonious sounds.

Usage: The karaniing is typically played during ceremonial occasions, including healing rituals and communal gatherings to highlight its cultural significance among the Temiar.

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Tempok is a traditional Orang Asli head ornament made from natural materials like mengkuang, palas, or coconut leaves. It is worn during dark sewang rituals, festivals, harvests, and daily as a cultural symbol. Handcrafted versions are often enhanced with dyed woven patterns and durable plastic flower decorations.

Tempok is a traditional head ornament made from leaves like mengkuang, palas, nibong, tenamu, or coconut.

Worn during dark sewang rituals, sewang offerings, festivals, and harvest celebrations.

Also used daily as a symbol of Orang Asli culture.

Handcrafted tempok features dyed woven patterns for added color and design.

Decorated with plastic flowers and leaves for durability.

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REFERENCE.docx ( TEMIAR).docx - Microsoft Word Online

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1) Blowpipe Making

2) Natural Dye Crafting

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The Semai (sometimes spelled Semiar) are one of the largest indigenous Orang Asli groups in Peninsular Malaysia. They primarily inhabit the central highlands of Perak and Pahang, especially in areas like the Titiwangsa Range.

Location: Mainly live in the Perak and Pahang states, particularly in hilly and forested areas like the Titiwangsa Range.

Language: Speak the Semai language, part of the Austroasiatic language family.

Lifestyle: Traditionally practiced shifting cultivation, hunting, fishing, and gathering forest produce. Many now also engage in agriculture and wage labor.

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The Semai people, an indigenous group in Peninsular Malaysia, are renowned for their expertise in crafting and using blowpipes, known locally as sumpit. Traditionally, these blowpipes were essential tools for hunting and survival, reflecting the Semai's deep connection with nature and their environment.

A craftsmanship of the traditional blowpipe~

Materials used: Semai artisans typically use temiang bamboo for the blowpipe's body due to its straightness and durability. The darts (damak) are often crafted from lightweight wood and tipped with poison derived from the sap of the Ipoh tree (Antiaris toxicaria), making them effective for hunting small game.

Construction Process:

Crafting a blowpipe involves hollowing out the bamboo to create a smooth, straight bore. This requires precision to ensure accuracy when shooting.

The exterior is then polished, and sometimes adorned with carvings or rattan bindings for grip and aesthetic appeal.

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Did you know that...

The Semai people use natural dyes derived from plants consisting roots and leaves to get the color to paint materials like mengkuang leaves.

These dyes are used in traditional weaving and craft-making. For example, creating tempok (head ornaments), mats and baskets.

The most common natural sources such as...

Turmeric is used to represent the color yellow.

Indigo leaves is used to represent the color blue.

Tree bark is used to represent the color brown or a hint of reddish tones.

The use of natural dye reflects the Semai's deep connection to nature and their sustainable crafting practices.

This tradition preserves cultural identity while promoting eco-friendly artisan techniques.

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REFERENCE.docx (semai).docx - Microsoft Word Online

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reflection (EIC404).docx - Microsoft Word Online