CONTENTS 2 Editorial Sarawak Craft Council 3 Welcome to the Rainforest World Crafts Bazaar 4 Meet the RWCB Exhibitors 6 A Centre for Handicrafts 8 Sarawak Storage 10 The Best of Sarawak Crafts 15 What’s On 1 Editorial INTERNATIONAL LINKS The skill and lore of handicrafts is rooted in each people’s past. The type of craft is suited to their needs and lifestyle. Decorations, or the absence of decorations, tell the observer something about the creative imagination of the maker and the user of each artefact, from humble household utensils to sacred religious paraphernalia. It should be easy to distinguish the crafts of one group from another at a glance. Careful examination, however, shows that even within sub-groups of closely related people there are variations. Designs and motifs overlap community and international boundaries. Historical study confirms this: wherever human groups came into peaceful contact, they borrowed from each other’s cultures. Many examples of cultural borrowing can be found within our own area. A finely plaited bamboo hat, now made by the Melanau of the Matu region, is called by them seraong Sambas. Why? “Some traders who sailed to the west coast of Borneo brought back wives from there,” the elders relate, “these ladies introduced this type of hat.” A book about Borneo’s cultures, compiled at the end of the 19th century, confirms this seemingly far-fetched explanation, complete with an illustration of the hat in question – the author had collected it in Sambas (Ling Roth, H: The Natives of Sarawak and British North Borneo, Truslove and Harrison, London 1896, vol. II, p. 61). The delicate patterns of Malay gold brocade cloth (songket) are used throughout the Insulindies, obviously borrowed, copied, carried from one place to another. Royal brides brought an entourage of skilled craftspeople with them if they married into another country, but ordinary traders and travellers also helped. The floral designs on imported calicos and muslins are surely one source of tulips and carnations which are seen in many Indonesian batik motifs? Popular imagination sees a ‘traditional craftsperson’ quietly sitting at work in a village, knowing nothing of the outside world. There are some such, but they are becoming rare. The young generation of craftspeople has been to school; there are specific crafts training institutions (see p. 6) where skills and techniques are taught, and where the trainees absorb cultural influences well beyond their own village. Artisans travel; they may bring their products to international fairs and bazaars, they may attend professional training courses. Designers in turn travel to the supposedly ‘isolated’ villages, to learn and to teach, and to gather ideas. This is not to say that artistic and crafts traditions should be abandoned for anything new that comes along! Every culture needs its roots. But no man is an island, even if he lives on one. In the CRAFTS is published by Crafthub Sdn. Bhd. for the Sarawak Craft Council (SCC). Opinions old days, people got new inspiration, or found things to adopt expressed by contributors to CRAFTS are not necessarily those of the SCC or Crafthub. All information is correct at the time of printing. The contents of CRAFTS may not be reproduced in and adapt, as they roamed the land in search of new farmland. any medium without prior written permission. Feedback is welcome, write to us at Today, they roam in search of education; they read books, [email protected] If you would like to advertise, please email [email protected] they glimpse other people’s cultures, crafts and countries on Editor: Heidi Munan TV. An event like the Rainforest World Crafts Bazaar, short Publication Managers: Donald Tan and Freya Martin Contributors: Annette Bessant, Lucy Ang-Abey though it is, will allow artisans from very different parts of Published by Crafthub Sdn. Bhd., 1st Floor, 96 Main Bazaar, 93000 Kuching. the world to meet, look at each other’s output, and surely learn Printed by Bahagia Press Sdn. Bhd., Lot 225, Section 49, Jln Padungan Utara, 93100 Kuching. something new. Cover Illustration: Susanne Kampp, Denmark with examples of her willow fugelfoderhuse (bird-feeding house). The Sarawak Craft Council The SCC promotes the State’s ethnic handicrafts, both to preserve a priceless artistic heritage and to improve the artisans’ livelihood. The predominantly rural craftworkers now have a realistic option to augment their income from agriculture. The Craft Council coordinates the activities of government and private entities involved in handicraft development in Sarawak. Mission Statement The Sarawak Craft Council provides leadership in the development and enhancement of the handicaft industry in Sarawak. Objective To develop the handicraft industry into a more coordinated and progressive enterprise that will complement the needs of the tourism industry. 2 The Rainforest World Music Festival, an event that has been gaining popularity with every year, opens its doors for the 11th time this July. The whole of Sarawak Cultural Village is taken over by a festive throng of world music fans for three daysjust as usual. Or is it? The Rainforest World Crafts Bazaar is making its debut this year, and Sarawak welcomes all participants and visitors to this first-ever event of its kind. The venue of the Crafts Bazaar, inside the Cultural Village, puts a very special stamp on the occasion. There will be no shortage of food and entertainment, as the village is geared to cater for thousands. The exhibitors, vendors and crafts demonstrators taking part in the Bazaar will have the unique chance of enjoying three days and nights of music, too! The Rainforest World Crafts Bazaar committee is doing everything possible to make our friends from other parts of Malaysia and from overseas feel at home. We hope they will take a stroll or two around the historical parts of the city of Kuching, where their hotel is situated; and on the way from Kuching to the Crafts Bazaar venue, they will catch a few glimpses of Sarawaks countryside. The Crafts Bazaar is, true to its name, a marketplace for the products of skilled hands from every part of the world. Yet it is more than that — it is a place where craftspeople can admire each others handiwork, where they can discuss techniques and where they can exchange ideas. Every participant is sure to bring something, not only goods but skills and ideas. It is our hope that every participant will take something home too: happy memories of Kuching, of the Cultural Village, of the Music Festival, and of the Crafts Scene in Sarawak. So, welcome to the Rainforest World Crafts Bazaar, and a special welcome to our cover girl, Susanne Kampp, who comes all the way from Denmark to share her basketry skills. We hope to see you all again at the Rainforest World Crafts Bazaar 2009! Datuk Gramong Juna Chairman, Sarawak Craft Council Rainforest World Crafts Bazaar Programme at Sarawak Cultural Village (details correct at time of printing) July 8 Arrival of participants from overseas and outstations, and setting up July 9 Setting up; Bazaar open from 9 a.m. to 5.00 p.m. July 10 Official opening of Bazaar at SCV at 10 a.m. Bazaar open from 9 a.m. to 5.00 p.m. Official Welcome Dinner for RWCB participants in Kuching July 11 Rainforest World Music Festival & Crafts Bazaar open 12 noon to 12 midnight July 12 Rainforest World Music Festival & Crafts Bazaar open 12 noon to 12 midnight July 13 Rainforest World Music Festival & Crafts Bazaar open 12 noon to 2 a.m. July 14 Bazaar continues from 9 a.m. to 5.00 p.m. Appreciation Dinner for RWCB participants in Kuching July 15 Bazaar open until noon; dismantling and clearing stalls until 5.00 p.m. July 16 Clearing complete. Participants depart for their home countries or undertake excursions in Sarawak 3 Here’s a glimpse into the lives and work of some of the talented craftspeople exhibiting at the first-ever Rainforest World Crafts Bazaar. SUSANNE KAMPP, DENMARK Susanne Kampp has been making willow baskets for some 15 years. Willow is a tall, long-branched shrub that grows in damp places, especially along rivers, in most parts of Europe. Like the majority of basket-makers in Denmark, she only practises her craft part time, after she has finished work as a pre- school teacher and during weekends. Susanne explains, “I like the strong traditional baskets, which are made for use. The first year I used to learn the techniques myself, but then I started to teach other people to make the baskets. I did start to experiment with the baskets’ shapes, and to use the techniques another way.” Susanne Kampp is Vice-President of the Basket-Makers Association of Denmark. She has visited Sarawak with members of her association and visited Nanga Sumpa, where the visitors were most interested to exchange ideas and techniques with their Iban hosts. Baskets at an exhibition The Basket-Makers Association of Denmark has 1,500 members. They publish a magazine, and organize annual festivals, where they meet and showcase their productions both traditional and modern to the general public. KAMALDEEP KAUR, INDIA Kamaldeep Kaur is a textile designer with a lifelong passion for neelgar, the name she chose for her business because “there is no other colour that represents natural dyes so beautifully as Indigo.” This textile artist from Gujarat province designs and produces saris, shawls, stoles, beautifully crafted pieces for every use. She is often called in to consult and design for official functions, such as costuming traditional folk festivals. Kamaldeep’s particular interest in natural dyes makes her a sought-after lecturer at conferences and seminars, both in her own country and abroad.