CONTENTS 2 Editorial Sarawak Craft Council 3 ... - CraftHub

Editorial
Editorial
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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
old days, people got new inspiration, or found things to adopt
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. All
and adapt, as they roamed the land in search of new farmland.
information is correct at the time of printing. The contents of CRAFTS may not be reproduced in
any medium without prior written permission. Feedback is welcome, write to us at
Today, they roam in search of education; they read books,
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they glimpse other people’s cultures, crafts and countries on
TV. An event like the Rainforest World Crafts Bazaar, short
Editor: Heidi Munan
Publication Managers: Donald Tan and Freya Martin
though it is, will allow artisans from very different parts of
Contributors: Annette Bessant, Lucy Ang-Abey
Published by Crafthub Sdn. Bhd., 1
the world to meet, look at each other’s output, and surely learn
something new.
st Floor, 96 Main Bazaar, 93000 Kuching.
Printed by Bahagia Press Sdn. Bhd., Lot 225, Section 49, Jln Padungan Utara, 93100 Kuching.
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.
Cover Illustration: Susanne Kampp, Denmark with examples of her willow fugelfoderhuse (bird-feeding
house).
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