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

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.

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.

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).

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.

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).

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.

Punjabis make up a small minority within the nearly two million Indians in 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).

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.

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.

[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.

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.

[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

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

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).

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.

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).

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).

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.

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

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).

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

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.

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

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.

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

[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.

[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.

[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.