Contents

2 Editorial

3 A Word from the SCC

4 The Kelarai Art of Weaving

6 Crafthub Cultural Talk in Sarawak Museum

7 RWCB 2011

8 Abushan

10 Indian Textiles

12 Bamboo Baskets

14 It’s a Small World

16 BIBA Entry Form

18 Page of History

19 What’s On

19 Shopping with De Gayantina Thamrin

Mats and Baskets

T here was a time, not so very long ago, when mats were about This is used to be the problem of town-based artisans, but as the only furniture found in our homes, and baskets the means of the population spreads and land use changes, even our best storage and transport. A family sat and slept on mats. They kept their craftworkers in the villages and longhouses find it more difficult valuables in baskets, they carried anything that needed moving – to get good materials. Provident mat-makers tend little plots of harvested grain to the house, farm produce to market, personal bemban, the reed that’s used for making sleeping mats; rattan belongings like sireh, tobacco and flint – in baskets specially made needs tall trees to grow up on, and it matures very slowly. for each purpose. We feel that it is high time Sarawak started growing craft materials The terrace house dwellers in sarawak’s towns still use baskets. seriously. has a start on us there; they are harvesting rattan On the utilitarian side there’s the laundry basket, the waste-paper which was planted twenty, thirty years ago. An entrepreneur in basket and the vegetable-washing basket. These are found in the the Bau-Lundu are has made a start with the fastest-growing of kitchen; in the drawing room there’s a tissue box cover made of material, bamboo; there are a few rattan plantations here and fancy basket-work, there are decorative baskets to hold flower there but the market needs more! Many of our best craftworkers pots or dry-flower arrangements, there are lampshades and wind- are elderly; they aren’t going to tramp six hours into the jungle agitated mobiles in fancy shapes. just to get an armful of canes. If natural fibres are easily available, many craftswomen who now don’t do basketry at all, or work with Ladies no longer carry their chewing and smoking utensils in a plastic, will go back to emulating the high standards set by their basket, but many use dainty knitting and sewing baskets for their mothers and grandmothers. needlework. Until superman on a vinyl backpack took over, children used to carry their books to school in a basket too. Multi-coloured school-bags with cartoon characters are not the only change in the world of basketry. Plastic packaging strips are used to make baskets; the rough variety may be seen in any market, full of vegetables, fish, or whatever the small business- woman is hoping to sell. The whole-seller has moved away from loosely woven bamboo baskets, too. Wet market produce arrive in large square plastic baskets nowadays; ‘easier to stack on a lorry’ we’re told.

The women in the farmers’ market don’t buy such plastic baskets, they make their own containers. The technique of working plastic strips is the same as any other basketry – anyam satu being the most common – and the craftswomen quite like using colourful materials. Some have the artistic taste to make plaids and patterns. A few have started using finer plastic strips to make more elegant basketry. They have the skill, but, so many of them lament: ‘it’s either plastic or nothing. You can’t get good rattan any more.’ Finger ornament, seen at Ahbushan.

CRAFTS is published by Crafthub Sdn. Bhd. for the Sarawak Craft Council (SCC). Opinions expressed by contributors to CRAFTS are not necessarily those of the SCC or Crafthub. The contents of CRAFTS may not be reproduced in any medium without prior written permission. Feedback is always welcome, write to us at the address below, email: [email protected] or visit our website: www.crafthub.com.my

Would you like your craft event to appear in our What’s On… free listing? Would you like to advertise at very reasonable rates? Then email the Editor with details to: [email protected]

Editor: Heidi Munan Publication Manager: Rosenah Ahmad Contributors: Lucy Ang-Abey, Donald Tan, Rosmarie Wong, Kamaldeep Kaur, Victor Wong, Heidi Munan, Pabriyah Bachik, De Gayantina Thamrin, Reynold Ahviet Printed by Bahagia Press Sdn Bhd, Lot 225 Section 49, Jln Padungan Utara, 93100 Kuching Published by Crafthub Sdn Bhd, 1st Floor, 96 Main Bazaar, 93000 Kuching ISSN 1985-7357 Cover image: Tattooed Iban Craftsman, © copyright maridontreks

Sarawak Craft Council, Sarawak Handicraft Centre, Round Tower, Lot 32 Sect 25 KTLD, Jalan Tun Abang Haji Openg, 93100 Kuching, Sarawak tel 60 82 245 652, 252 241, fax 60 82 420 253 e-mail : [email protected] website : sarawakhandicraft.com

Published for SCC by: Crafthub Sdn.Bhd, First Floor, No.96 Main Bazaar, 93000 Kuching Sarawak . tel: 60 82 421 346 fax: 60 82 614 622 email: [email protected] website: www.crafthub.com.my 2 A word from...

The Sarawak Craft Council by Reynold Ahviet

Hello folks, also big Hi to all our regular CRAFTS readers who have been following us since our first print, way back in 2008. It has been quite a thrill ride for us (fun as well!). We share stories and informative topics for the newsletter, honestly we are learning some new things as well! Being human, we cannot have the ability to know everything. Learning and sharing new things everyday is a great way of contributing to society as a whole.

With this issue our team says ‘Selamat Hari Gawai’ to all our Dayak readers, and Selamat Hari Raya (coming next month!) to our Muslim friends.

SCC Activities In February-March the sCC took part in the annual Hari Kraf Kebangsaan (National Craft Day) at Kompleks Kraf Kuala Lumpur. The 2-week event was filled with exciting programs. With participation from every state in Malaysia, there was a lot of interesting stuff, from the kind of handicrafts we come across everyday to really bizarre stuff! interesting enough eh? SCC Chairman Datuk Gramong Juna honour a veteran artisan.

SCC featured Mr. sahat Akip from Kampung sileng Melayu and marine products. Wow! Such diverse products! It was an Lundu at Hari Kraft Kebangsaan. He is known for wood carving exciting exhibition that our team was proud to be a part of. and did live demos during the exhibition. The objective of our team was to create market awareness of Less than a week later, we headed to for the the handicrafts scene. Much like other industries, handicraft BIMP-EAGA ( Indonesia Malaysia Philippines East Asean products keep on changing, evolving in terms of design. Young Growth Area) Expo 12 – 15 March, at the Sabah Trade Centre. minds are brave enough to re-shape the way people look at This showcased the best of EAGA products, including a wide crafts. range of food, agriculture, industrial crops, livestock and poultry Almost a month after our Sabah trip, SCC headed north again, not to Miri or Sabah but to Bandar Seri Begawan (Brunei). SCC participated in Sarawak Travel Fair which took place at Times Square 1 – 4 April. This fair was coordinated by the sarawak tourism Board. We tagged along Lawas’s bead producer, Mr Marthin sara, and painter Mr Awang Nikaszahar @ Niki. Plenty of people surrounded them as the one was making live paintings and the other produced beads -- something to “wow” to crowd!! Our only complaint was the currency…everything costs double in Brunei.

Promosi Kraf Malaysia was held at Miri Heritage Centre on 20 – 25 May, organized by Kraftangan Malaysia. We showcased our talented craftspeople from Miri itself for this Promotion.

Outlook There you go people, it was quite a packed schedule for the sCC team. It was fun too, there’s a yin and yang that makes things worthwhile. Ahhh --- do not forget the coming Rainforest World Craft Bazaar, 8 – 10 July, you can’t miss that one! With participation from art students from various local universities interpreting the theme “recycle”, something interesting is bound to happen. We know you are going for this, and you will see the SCC there!

Left: SCC at the Sarawak Travel Fair in Brunei. 3 the kelarai art of weaving by PARBIYAH BACHIK Corporate Communications Department,Kraftangan Malaysia

Weaving is the process of interlacing yarns or threads of leaves, Siti Zainon Ismail in the book Rekabentuk Kraftangan Melayu ‘lidi’, rattan, roots, bamboo and several other types of plants in (1986) [Malay Handicraft Designs], there are 45 types of and out of itself to form a threaded surface. ‘kelarai’ designs that have been identified and used by weavers from areas in the Malaysian eastcoast states of terengganu, The art of weaving is inseparable from the traditional way of Pahang and Kelantan. life of communities in the Indo-Malay Archipelago, including Malaysia. From mats to wall coverings, weaving works fill the E.F. Allen and J.H. Greig in their book Art & Craft – the Pandan living environment everywhere. This is unsurprising as many Weaving Industry of Terengganu explained that : naturally-growing tropical plants are suitable as weaving materials. “The basic pattern or ‘kelarai’ requires only two colours and it is easier to study in this form than where a complex of colours Generally, the basic method of weaving does not differ much interwoven in strips to produce the ‘corak’ (pattern) which is but it depends on the type of plant used for weaving. Among super-imposed on the kelarai and which, carried to extreme, the most frequently used for weaving is pandan (pandanus may almost obscure the pattern,” amaryllifolius), mengkuang, bamboo, bemban, rattan, ribu-ribu, serdang leaves and sal leaves. Different plant characteristics After more than 30 decades the art of weaving in Malaysia produce various shapes and result in end products which are has shown improvement and noticeable change. Production useful for traditional everyday life. innovation and greater creativity in woven crafts have resulted in various types of products based on weaving. Such progress The weaver gains inspiration and creativity from observing the has indirectly influenced the progress of the kelarai designs. environment and surrounding life. In the process of weaving patterns, the shapes created give rise to an interesting design KELARAI AND WEAVING PATTERNS style which came to be known as ‘kelarai’. The kelarai design Generally there are about 45 types of kelarai and weaving can be composed singly or arranged in a space to make a set of patterns that were used by the local weaving entrepreneurs. patterns that produces a certain design. Kelarai is still being used even to this day. It is a technique whereby the eyelets are skipped between one to four places to Through their expertise, the art of kelarai design is produced create a pattern. In a gadas weaving pattern the eyelets are not based on nature-inspired patterns from the flowers of ‘bunga skipped to produce the design. pecah lapan’ (eight-petals flower), the clove, the so-called cape flower (‘bunga tanjung’ - mimusops elengi from the Previous designers have creatively produced a number of family Sapotaceae originating from the islands of Indo-China designs based on a single type of pattern. Such creative art took and the Malayan Peninsula), ‘tampuk pinang’ (betelnut buds), into account features of beauty, comfort and influence needed ‘siku keluang’, ‘tapak harimau’ and fish bones. According to in their daily lives.

4 The design patterns that were created were harmonious and easily accepted by the end users. Each woven pattern took into account not just the aesthetic values but were compositions with reference to the natural surroundings and which must not go against religious values.

The kelarai weaver uses the natural surroundings as inspiration. Plants, birds and insects as well as various cosmic elements close to her were arranged and used. Shapes of the clove flower, mangosteen end, little fish, tiger paws and so on became patterns that not only give rise to beauty but also functionality in its creation. TYPES OF KELARAI T he natural surrounding is the source of inspiration to weavers in creating their myriad patterns. As such, the ideas and creativity were churned to produce unique creations used and applied throughout the ages.

Kelarai inspired by animals

(Left) Kelarai of little fish – has similar patterns to the patterns of the jala shoots

(Right) Kelarai of kedidi (bird toes)

Kelarai inspired by plants

(Left) Kelarai of jasmines

(Right) Kelarai of mangosteen ends

Abstract Kelarai

(Left) Kelarai pecah lapan (Kelarai in eight petals)

(Right) Kelarai of broken rice

Kelarai of People’s Name (Left) Kelarai mak mek

Mat making in Sarawak (Right)

T he weaving art is still used to this day. Weaving products have been varied in looks and function. In fact, the products were not limited to household uses but also used as interior decor. The creativity of these weavers spark new ideas in wrapping motifs used in other creations that do not use the basic weaving materials like pandanus or ‘mengkuang’ leaves. Instead, the kelarai motif is used on top of other media like marbles, ceramic and others.

5 Crafthub Cultural Talk at Sarawak Museum

On 28th December 2010, Crafthub had the great privilege of introducing Vivienne Garside to the sarawak Museum, where she gave a well attended talk on Zulu Beads.

Vivienne Garside is the manager of Vukani Museum in South Africa, a combination of exhibitions, and working artisans who perpetuate the cultural tradition of their forbears. She told her Kuching audience that this village-style museum is under the stewardship of the Vukani Collection trust, a multi-cultural group of local residents who are passionate about the rare works in their charge. With their dedicated staff, they have committed themselves to rescuing old items of traditional use, and to creating opportunities for crafters to market their work. To raise funds for this purpose, they buy and sell superb craft work at fair prices, and collectors are welcome to make enquiries in this regard.

Mrs.Garside is currently reading for the Commonwealth Association of Museum Diploma in Museology.

The talk was illustrated by excellent colour slides, and a few samples of Zulu bead-craft. Crafthub thanks the Sarawak Museum for making its lecture room available for this fascinating talk.

A delegation from Vukani Museum, providing hands-on demonstrations and also bead craft sales, is expected to be our guest during the forthcoming Borneo International Beads Conference, 7 – 9 October. (see details on p.19) Vivienne Garside

Beadwork by Doris Mwelase

Modern Zulu beadwork

Beaded Pot

6 Since the inaugural Rainforest World Crafts Bazaar in 2008, the RWCB has been a resounding success, attracting exhibitors and artisans from all over the world.

The Rainforest World Crafts Bazaar is sited right inside the Rainforest World Music Festival. Over 20,000 music fans joined us last year!

Practical Information • The RWCB is housed in and around traditional Borneo dwellings. • Look for Melanau and Malay houses -- that’s where we are. • Lots of hands-on demonstrations of traditional crafts. • Make your own crafts and take it home! • The Bazaar is open from 11 a.m. to 10 p.m. daily.

Event by: Crafthub Sdn. Bhd., First Floor, No. 96 Main Bazaar, 93000 Kuching, Sarawak, Malaysia. Tel: +60 82 421 346 Fax: +60 82 614 622 Find out more on www.crafthub.com.my (under “events”) or drop us a line at [email protected] 7 For the three of us who attended Abhushan, a jewelry conference organized by the World Crafts Council, it was a true learning experience.

Abhushan was a World Crafts Council event, thought he practical organization was in the hands of the Crafts Council of India and the Delhi Crafts Council. The event embraced the diversity, symbolism and artistic form of Jewelry, an interface through many platforms like the actual seminar, exhibitions, and a series of excellent workshops. Mrs. Nina Kothari, Chair Person, stated that: “The program aims to create an interactive moment when traditional, Indian crafts persons and experts will join their creative heads to analyze and apply a range of international design concepts taking the traditional form to a new, wearable realm.”

Abhushan was a truly international event, with several thousand participants, delegates and craft/jewelry producers, designers and sellers. to the three participants from Kuching, it was superbly managed. Unlike such events that we have observed Usha Krishan, President of the WCC elsewhere, it was divided into three separate parts:

The conference proper, the workshops, and the exhibition/ sales component. each segment had its own organization; delegates might choose to attend the conference only but not the workshops, or the workshops but not the conference; they paid two separate fees for the two events.

This separation makes for very efficient organization. the By Rosemarie Wong, workshop committee had nothing else to run, only the Heidi Munan, Donald Tan workshops, and they did it superbly.

The conference committee had sourced expert speakers from all over the world. The exhibition, ‘Seed to Silver’, as the name suggest, evoked innovative transformations in jewelry from a Learning Experience diverse materials. the exhibition showcased works from six

Abhushan organizers and resource persons 8 T raditional Indian Jewelry Skilled Craftsman applies gold leaf Silver and natural fibre bracelet to Indian Jewelry President of WCCARP, Surapee Rojanavongse

regions, North America, Latin America, Europe, Asia Pacific, Africa and India. These jewelry items weren’t confined to noble metals and precious stones – they also demonstrated the use of wood, plastic, recycled materials, shell, paper, metal. The idea was to transform a humble material into an exquisite piece of jewelry. The section from India focused on folk and tribal jewelry especially.

We were delighted to meet many of our friends, and make new contacts. One common purpose united this collection of people form every corner of the world: we are all passionately devoted to fostering and promoting crafts….

The Chief Minister of New Delhi, Mrs.Nina Kothari, Chairperson of Sheila Dixit, with Heidi Munan (l) Abhushan, flanked by two friends and Rosemarie Wong (r)

President of WCCARP, Surapee Rojanavongse Fibre Art Bamboo Jewelry

Jewelry and Fashion show, hosted by the Austrian Embassy in New Delhi 9 BaandhaniBy Kamaldeep Kaur Textiles of India

Wedding Shawl Before Tying Woolen shawls worn by shepherd women in Kutch region, Gujarat

Antique Wedding Shawl Tying the pattern

Indian Textiles There are two communities involved in dyeing and printing in Among the many regional crafts of India, one is unique: India: the Khatri and the Cheepa. Khatri means the Kshatriya, baandhani, also called bandanna by the British. Baandhani or a very high Hindu caste, but most of the Khatris today are Bandhej is an ancient, superfine form of tie and dye; 6th and Muslims. The Cheepa are the block printers, usually Muslims in 7th-century examples have been found on wall paintings in the Gujarat, but some in Rajasthan are Hindus. caves of Ajanta, in Maharashtra. The Process The Craftsmen Baandhani or tying is practiced by the baandh (to tie) naari T he craft is practised only in Rajasthan and neighbouring (women), while the dyeing is traditionally done by the men. Gujarat, in the north-west of India. Historically there was considerable migration between these two states, due to natural The design is made on a tracing paper which is then perforated disasters like floods or droughts, or unemployment. to transfer the pattern onto the fabric. Tracing is traditionally done with a weak solution of indigo or geru, a red coloured Fabric dyeing and printing requires considerable amounts of earth. once the pattern is traced the women start tying it. water. People traveling from Rajasthan stopped at the copious Depending upon the design and the size of the fabric, it can Saabarmati River, in Ahmedabad. Most of the dyeing and take from four weeks to one year to make just one piece! printing work is still done near the river, 6-8 generations after these artisans arrived here. A special tool called the nakhalia (nakh = nail), made of metal, is worn as a fingernail guard. The point on top helps in picking Sometimes there were migrations of baandhani craftspersons up the pinch of the fabric to tie. within the state, as from Kutch to Jaamnagar in Gujarat, because this was a bigger market. Others moved from Pakistan to Kutch Once the tying is so done, the fabric is taken to the dyer. If a or other bordering regions in India, seeking work. fabric requires more than one colour, the piece will be sent

10 Baandhani Frabric - Malaysian design.

I worked on traditional patterns at first, and soon started creating contemporary designs. It took me about 3-4 years to create patterns like those in the Calico Museum, but I did achieve equivalent results. My pieces have been displayed, among other prestigious venues, at Galeri Petronas, Kuala Lumpur, Malaysia, in the exhibition ‘The Thread that links the World’ organized by the Crafts Council of Malaysia and Society Atelier Sarawak.

The link between the market and the craftsmen Baandhani Kimono Designers become the link between the craft and the market. Most of the crafts were created for local communities to fulfill back to the same woman who tied it for a second round of daily needs, or for royalty for special occasions. tying, or even a third. Only one person works on one piece to create a perfect product. As time changed , the old market started disappearing. There are changes in lifestyle, the textile mill can churn out a thousand Traditional baandhani pieces of the same patterns much cheaper than the hand-made One of the reasons for the survival of baandhani, as of most ones. crafts, is that they are not only part of the Indian heritage but also of our present culture. Unique designs are meant for The craftsmen, unfortunately, remain in the same villages special occasions, for particular castes and religions. and do not know how to move ahead when they lose their traditional market. For example a Garchola sari is worn by the Gujarat Hindu community for weddings, so that’s a pattern that cannot go out I was chosen by the Ministry of textiles to do a project in of fashion though one can find variations on the theme. design development, in which I stay with the community for about 6 months, learn about their culture, patterns, tools and Chanderokhoni is worn at Muslim weddings; these pieces are possibilities. During this period I create new patterns and traditionally made in a red and black colour combination. products to introduce the artisans to new markets. It is at this time that I start creating the range of scarves and shawls which Developments in baandhani have made me famous the world over. I started getting orders My first introduction to baandhani was my tie-and-dye class in immediately from NGOs, and many Indian and international the design school. I still remember the magic of opening the design houses. The project started with ten women, and now first tie and dye pieces I had made. An inner voice told me: there are about 450 women working with me, supporting their ‘This is what I am going to do all my life.’ families and fulfilling their need to be attached to their heritage, their culture and their roots. The initial excitement about the outcome of dyeing has remained the same since I opened the first piece in 1995. I A Baandhan shawl is a lot more than a piece of cloth! started working with baandhani full-time about ten years ago, when I saw the exquisite pieces in the Calico Museum More about bandhaani on the author’s web site www.neelgar. of textiles in Ahmedabad, and heard that no one can recreate com, or drop her a line at [email protected] those patterns and quality. I accepted the challenge.

11 T ravelling Trader

FROM BAMBOO TO BASKET,

A MACHETE AWAY by Lucy Ang-Abey

Amazing Bamboo Bamboo has to be one of nature’s most fascinating, most I asked Wilson about bamboo crafts. He took me to Camiling generous gifts. From roots to leaves, its uses make an town market stalls and helped me take pictures of a huge array inexhaustible list: food, drinks, medicine, shelter, house of bamboo wares: baskets, baskets everywhere, even a baby’s components, kitchen utensils, furniture, household items and basket-cradle and chicken coops. décor, paper, yarn, textile, cosmetics, toys, musical instruments, transportation, landscaping, sports and games items, jewellery, Then we drove to Malasiqui, in the neighbouring province of water processing, construction … Pangasinan, a good 45 minutes’ drive away. We stopped at a house with a big front yard. Women, and girls as young as ten, Bamboo stands out as a highly valued source of materials for deftly worked with bamboo strips, adding handles to baskets for arts, crafts, implements, and tools. Besides its commercial fruit vendors and wholesalers. These girls earned good pocket and industrial values, bamboo also contributes to forest money after school. Although they were only half as fast as the conservation. grown-ups, they could finish 20 baskets a day, on average.

Bamboo belongs to a grass family of 10,000 species. In the Another 15-minute drive brought us to san Carlos City, bamboo family, 91 genera and over 1,000 species have been Pangasinan. We browsed around the town centre’s craft market. identified. they’re generally classified either as clumper or One stall displayed bamboo baskets, lamps, mirror or picture runner, known to be the fastest growing woody plant at 3 - 4 frames, and furniture: dressing table, bed, dining set, etc. feet a day or 1 ½ - 2 inches an hour in some environments. Its life spans from 20 to 50 years. One day, Wilson drove us to the suburbs of Tarlac. on the road was a pony pulling a roofed wooden cart piled up with bamboo and rattan crafts along the roads —a traditional style A Discovery of peddling. some of the peddlers adopt a semi-Gypsy life Recently, I stayed with my nephew Wilson and family in the style. They’re always on the road, doing wholesale and retail, idyllic hamlet of Malacampa, Tarlac Province, approximately sleeping in their carts for days until their wares are sold. They 150 km north of Manila. In the neighbourhood, clumps of stay home briefly to collect more goods; then they’re on the bamboo thrive along the river banks, or overlooking the rice road again. fields neatly demarcated by bunds.

12 Women worker Susing at work

Bamboo lamps Basket base Open weave

Meeting a Craftsman Chicken coop When I expressed my desire in seeing a bamboo crafter at work, Lisa (Wilson’s wife) introduced me to her Uncle Susing in Malacampa. An interesting encounter unfolded. At two years Susing works on his bamboo crafts single-handedly. His old, Susing lost his father. His grandparents helped his mother to wife toring occasionally helps in cleaning the bamboo bring him up. At six years old, Susing became his grandfather’s strips. He showed me two species of bamboo growing in the apprentice in bamboo crafts and completed his first bamboo basket when he was seven. He took pride that he always won neighbourhood: kawayan bayog (bambusa sp 1) and kawayan prizes in basketry competitions, even in primary school. of tinik (bambusa blumeana). Kawayan kiling/kawayan tiling Susing’s seven children, only Junior and Uteng picked up the (bambusa vulgaris Asia) is procured from elsewhere. Susing’s skill. But Uteng seems to show more interest. instinct guides him in choosing what bamboo to cut. Just by one look, he approves or rejects a bamboo stem. He either Susing’s family home features an old bamboo bed, bamboo collects the raw bamboo or buys it from the market place. chicken coops, bamboo walling, and bamboo fencing ... all his handwork. Susing showed me a padi winnowing tray and I visited susing many times and watched him working in baskets for different purposes, from farmer’s lunch basket to stages on different baskets. He used wider and thicker strips of prawn baskets. Each piece was carefully and intricately crafted kawayan for the base and frame, smaller and thinner strips for from bamboo strips, done in the basic up-down basket weave the body—up down weaving, over and under the frame. (They design, but the workmanship topped all those I’d seen in the remind me of warp and weft as in textile weaving.) Bayog is market places. for trimmings, edgings, or finishing work. Kiling is used only Susing’s bamboo baskets are never sold in a stall. Because of for certain basket designs. Susing normally takes 1-2 days to his meticulous work, his prices can’t compete with the highly prepare the bamboo strips and 3-5 days to weave a basket. commercialised pieces sold in town. He only accepts orders and takes his time to do a good job for clients willing to pay As susing never has any baskets in stock, I couldn’t have 200-500 pesos (USD 5- 12) a piece. possibly bought one from him. Lisa managed to persuade Susing’s daughter Jenny to sell the basket her father gave her What tools does Susing use? He silently pointed to the machete almost ten years ago. Lisa bought it as a gift for me. tied to his waist. That’s all he uses for cutting, splitting, shaving, and smoothening raw bamboo for his craft. susing hardly Cleaning that basket is almost effortless. I scrubbed it with a uses sandpaper. Sometimes he uses a banana leaf for a little little laundry detergent, rinsed it under tap water, and dried polish. He maintains that a lasting bamboo basket depends on it under the shade. the almost decade-old bamboo basket well selected, well dried (sun and air), and well shaven strips. Unless a client specifically requests varnish, susing’s baskets holds its shape perfectly and is now among my many pieces of are 100% naturally finished, smooth with the natural sheen of bamboo collection. bamboo. 13 IT’S A SMALL WORLD AFTER

ALL By Victor Wong Introduction Wayang Kulit figures This article explains the development of ideas, backed up by was followed by representing Balinese dancers in their brightly research and aesthetic sensibilities, which culminated in the coloured costumes, as well as the stately Javanese Royal Courts setup of a company known as Golden Chersonese Miniatures. (Kratons) which are all very splendid in appearance. A novel approach was the use of sheet metal, folded to represent batik I sculpt miniature figures as an artistic endeavour. My pieces cloth, on my miniatures. generally measure about 6 – 7 cm in height and make small

attractive compact displays. As I live in a part of the world which Yet another unusual theme is the shadow puppet (Wayang Kulit) is rich in its colonial and cultural heritage, I have amassed a lot theatre. I was determined to recreate the puppets in brass sheet of references to Asian cultures from which I have created many metal, but this isn’t easy! After a lengthy search, I finally tracked realistic miniatures.

Golden Chersonese Miniatures was set up to produce metal miniatures to represent the unique cultures of this region and to create a range of unorthodox figures, visually different from any other – the miniatures are in themselves unique. Our focus is on unusual subject matter coupled with extensive research, original designs and workmanship.

Currently we offer pieces based mainly on Balinese, Javanese Court and processional themes. These topics are chosen for their rich display possibilities in terms of colour, grandeur and documentation.

Sculpting and Production The masters for the figures are sculpted in epoxy putty. Silicone Rubber Moulds are then made, from which numerous metal castings are obtained. My miniatures have separate heads, arms and torsos, joined to create truly unique, individual pieces. These are then assembled and painted. All production is done in-house to control the quality.

Following a personal interest, I decided to represent Balinese and Javanese gamelans, both spectacular, as a main theme. This

Gamelan orchestra sketches

14 down a small micro-electronics company which was able to produce multiple brass-etched puppets from my designs. There are 10 different silhouettes which are cut out and painted. A typical Wayang Kulit set has about 250 puppets.

Let’s look at two of my productions in detail:

Javanese Gong Ageng miniatures The most challenging piece here is the intricate Javanese Gong Ageng, found in the Raffles gamelan orchestra, which features anthropomorphic and zoomorphic designs in the instruments. This highly Under construction Completed figure: The Sultan complex item was created by attaching two side wings to a central bird-like piece. The wings, hooks and drums were separately added; this is delicate and painstaking work!

The Bonang with 4 musicians The unusual bonang instrument consists of a wooden frame on which 8-12 bronze pots are mounted. In Bali, it is played simultaneously by up to four musicians sitting side by side. This piece alone is composed of 13 separate castings.

Golden Chersonese Miniatures With the setting-up of Golden Chersonese A Sultan surrounded by his courtiers Miniatures in mid-2008, we established the characteristics of the first two series with their aesthetic intricacies. It is our stated intention to offer truly unique miniatures with unparalleled depth and beauty.

We are the only makers of these unusual figures. Our production allows connoisseur collectors a unique opportunity to acquire figures of a kind not A Balinese Gamelan Orchestra found anywhere else

There are plans for additional sets and series. We More information on these fascinating products may be found on website: hope that this article has presented a different art http://www.gcmtoy.com form genre to miniature collectors, and the readers of CRAFTS magazine.

The fabulous Raffles Gamelan Orchestra - The musical instruments feature anthropomorphic and animal designs. The musicians are dressed in Javanese court costumes.

15 BIBA Entry Form 2010/2011

Name: Date of Birth: Email Address: Telephone Number: BORNEO Fax Number: INTERNATIONAL Postal Address: BEADS Biodata: Signature: AWARD Entry (Choose one Category, or several, as applicable) Category 1 (Beadwork) Calling all beaders! Brief Description of Artifact

Enter your most beautiful creations in the Borneo Material(s) International Bead Award (BIBA) The competition is open to Significance, Inspiration

Bead-makers Category 2 (Bead Stringing) Bead-stringers Brief Description of Artifact Bead-workers

Entries must reach our office by 5 p.m. on the 1st September Material(s) at the very latest; Crafthub Sdn.Bhd, 96 Main Bazaar, 93000 KUCHING, Sarawak, Malaysia Significance, Inspiration

The results will be announced at this year’s Borneo Category 3 (Bead-making; submit at least three identical International Bead Conference in Miri, 8-9 October. specimens) Brief Description of Artifact All details are to be found on www.crafthub.com.my – click on the logo Material(s)

Any questions? Send us an email at [email protected] Significance, Inspiration This event is supported by Note: Please use additional paper if necessary.

The Sarawak Tourism Federation Always supports Authentic Sarawak Handicrafts

MAIN BAZAAR, 93000 KUCHING P.O. BOX 887, 93718, KUCHING. TEL: 082 240620 FAX: 082 427151 EMAIL: [email protected] Website: www.stf.org.my

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A Page of History Source: Evans I.H.N.: Among Primitive Peoples in Borneo, Seely Service & Co.Ltd, London 1922; pp 150-151 Baskets from North Borneo

‘One of the arts at which the Dusuns are adepts is the making of base with an edging of wood; the material of which it is constructed baskets. Some of these are true basket-work, made from strips of is rattan cane. A bariet will hold sufficient articles for a native who rattan or bamboo; others are formed from the red skins of leaf stalks is going for a few days’ journey – a change of clothes, a betel- of the sago palm pressed out and sewn together. The carrying- box, some sireh leaves, a little rice, some dried fish and possibly basket is one of the most important of the Dusun’s possessions; he a bundle of charms to protect him from the hidden dangers which takes it with him to his garden and brings home a heavy load of lurk in the forest.’ kaladi (yam) roots or padi, and in it he brings down to market the dammar gum which he has collected in the jungle, or the tobacco which he has grown to sell.

Two types of large back-basket are in common use in the Tempassuk, each kind being, as a rule, fitted with a board some foot and a half wide running from top to bottom along one side, and with three loop-straps of tree-bark. The board rests on the carrier’s back, and of the straps, one is worn around the forehead or over the top of the head towards the front, while the other two go over the shoulders. Both types of basket are somewhat in the shape of a truncated cone and are carried apex downwards. One of them, a most excellent kind, is chiefly manufactured at Tabatuan and in a village above Tamu Darat – if I remember rightly, the village is Pinasang. This basket, which goes by the name of bongun, has a body made from sago-palm leaf stalks which are bound with a wooden or tree-bark rim at top and base, the actual bottom being wood. It is further fitted with a wooden cover consisting of a round top with a rim made out of a strip of tree-bark. These baskets are splendid for holding personal belongings when on the march, since they are kIvor H.N.Evans joined the North Borneo Company as a junior cheap, light and strong, are absolutely rain-proof and are built for civil servant in 1910. After a short term of service, he returned the very purpose for which they are required. to Cambridge University to study anthropology. He paid a second visit to North Borneo (Sabah) in 1915, and then was appointed The other type, called basong, is similar to the bongun, with the Ethnographer of the Federated Malay States Museums. Evans was exception that it has a much broader mouth and no cover. The interned during World War II; after liberation he settled in Labuan, basong is chiefly used for carrying jungle and agricultural produce. where he died in 1957. When a native is travelling light he generally uses another and smaller type of basket fitted only with shoulder-straps. This kind of Today, evan’s writings are of considerable interest; a person of basket, which is called a bariet, stands about two and a half feet somewhat eccentric character, he was a keen observer and exact high, has a circular mouth with a wooden cover and a rectangular recorder of what he saw and heard on his travels.

18 what’s on... in the world of crafts

KUCHING WEEKLY CRAFT MART every Friday – Sunday at the Waterfront

MIRI PERMANENT CRAFT MART 8-9 October 2011 at the Handicraft Centre, Brooke Road Watch this space and www.crafthub.com.my

SHOPPING with De Gayantina Thamrin

Rong, Ba’ kelalan conical sunhats decorate the NadinMas Enterprise room. Displayed on the Dolly in a shelves are a bamboo basket, sandals, Lun Bawang beadworks and many other traditional knitted outfit Ba’kelalan handicrafts, originating from the birthplace of Ms. Ronang Peru, owner of this Crafts Tuition centre. Aside from tribal products, this comfortable room is also filled with modern crafts made of textiles, crochet, and knitted or woven yarn.

The scarves and children’s jackets caught my eye. I really wanted to take up one of the basic knitting classes when I saw so many of Rongan’s and her students’ exquisite products!

Ronang learnt the fundamentals of the craft by watching her sister, from books, and by joining a group of crafts-making ladies during her stay in South Africa. She began crafts training for a group of single mothers in singapore 6 years ago, and opened an online business at her daughter’s recommendation. Upon her return to Sarawak a couple of years ago, Ranong opened a crafts training centre for women from komuniti kolej with the support of the government. She also began teaching crafts knowledge to students of different private schools.

This Craft Center holds handicraft classes for the general public, too. For only about RM120 (depending on the craft project), students can create beautiful handmade crafts of their own while learning stitching techniques. Anybody looking for unique gifts for lady friends, maybe a mother or daughter, can pick something special from the hand- crafted works available at reasonable prices in this craft shop, Nadin Mas Enterprise at Lot 2682, 1st floor, twin tower Center 2 1/2 Mile, Rock Road, Kuching, sarawak. or browse http//loveineverystitch.wordpress.com

Nice warm hats for a cooler climate Baskets and mats made in the Lun Bawang technique

Bon Voyage and Au Revoir A prominent and active friend of cross-border handicraft promotion, Bapak Rafail Waganitan, Acting Consul-General of the Republic of Indonesia, has completed his tour of duty in Kuching – much to our regret! Crafthub joins the Sarawak Craft Council in wishing Bapak Rafail every success in his future career, and hoping we will see him and his gracious lady in Kuching again one day.

Picture Left: Paying a farewell visit at the Indonesian Consulate, l – r Rosemarie Wong, Donald Tan, Bapak Rafail, Ibu Oryza S. Rafail, Heidi Munan, Lyn Alhady, Di Gayantina

19 Sarawak Craft Council, Sarawak Handicraft Centre, Round Tower, Lot 32 Sect 25 KTLD, Jalan Tun Abang Haji Openg, 93100 Kuching, Sarawak tel 60 82 245 652, 252 241, fax 60 82 420 253 e-mail : [email protected] website : sarawakhandicraft.com

Published for SCC by: Crafthub Sdn.Bhd, First Floor, No.96 Main Bazaar, 93000 Kuching Sarawak Malaysia. tel: 60 82 421 346 fax: 60 82 614 622 email: [email protected] website: www.crafthub.com.my