Being one of the world’s most culturally vibrant melting pot, Malaysia is brimming with diverse heritage and traditions. One needs only look at the colourful traditional handicrafts available here to get a sense of the country’s multicultural essence.
Handicrafts are part of a nation’s tangible cultural heritage and play an important role in tourism development too. Tourists, local and international, often purchase handicrafts as cultural souvenirs.
And if anything, Malaysia has no shortage of this tangible cultural element.
From batik and songket to woodcarving and rattan weaving, there is much to be proud of when it comes to the works of our local craftsmen.
It’s a shame then that many of the country’s traditional arts and crafts are not given their proper due, said Malaysian Craft Council president Nik Faiz Nik Amin.
“The uniqueness of our local craft products are what we should highlight among local and international communities at this moment. Many have not seen and experience the intricacy and amazing details on our craft products, ” he said in an interview.
Nik Faiz would very much like to see more Malaysians shopping from local craft makers, especially during this difficult pandemic period.
He explained that the bread and butter of many craft makers in the country has been severely impacted by the pandemic, the various movement control order phases and the travel ban. This is because people are tightening their expenses.
“When there is no order, there’ll be no income for them (craft makers) who mostly are the heads of families. They do not have savings and have been practising a weekly wage system (before the pandemic), ” he said.
Support to sustain
In the age of mass production and mechanisation, handicraft is considered unique as they are made completely by hand or by using only simple, non tech-related tools.
But with the current pandemic, small businesses are even more at risk of financial ruin as customers control their spending.
“In this time of difficulty, we need strong support among local consumers to keep buying local products, especially local craft products. It’ll help many artisans in the village and also in the city centre survive, ” he said.
There are about 6,000 registered handicraft entrepreneurs in the country as of November last year, according to the Malaysian Handicraft Development Corporation (Kraftangan Malaysia).
And as of September 2020, the total sales value of crafts in the country stood at RM182.7mil. This is a marked decrease from the RM519.7mil generated in 2019.
On its part, Kraftangan Malaysia – which is under the purview of the Tourism, Arts and Culture Ministry – has implemented various programmes to help local craft entrepreneurs weather the difficult economic situation.
In an effort to empower the local craft community, Kraftangan Malaysia implemented the Community Skills Development Programme.
As the country moved into the first phase of the MCO in March last year, steps were immediately taken to bring the sales and promotion of local arts and craft on a virtual platform.
Kraftangan Malaysia introduced an online marketing initiative to help craft entrepreneurs sustain their businesses.
Reinventing the marketplace
Tourism, Arts and Culture Minister Datuk Seri Nancy Shukri, in an interview explained that it’s vital to go digital to help the craft industry stay afloat amid the pandemic.
Another notable initiative is an e-marketplace platform called MyCraftShoppe that enables craft entrepreneurs to market their products online, based on the “global reach, local identity” concept.
Nancy said the platform not only offers a variety of craft products, but is also a site where consumers can get information related to the craft industry ecosystem.
“The public can see every craft product that has its own charm on this platform, ” she said about MyCraftShopped, adding that various handicraft from the different states in the country are on display here.
“In addition, people can also download the CraftOnTheGo (COTG) app to get information on craft entrepreneurs more easily and quickly, ” she added.
When met by reporters at an official event in Kuala Lumpur recently, Nancy reiterated her call for craft makers to turn to technology.
“I call on craft entrepreneurs to remain resilient, enthusiastic and competitive in producing and marketing craft products through any method and channel. Explore and use the digital platform methods that have been provided, ” she said.
While digitalisation is great, Nik Faiz is of the opinion that what would ultimately spur the craft industry during the pandemic is more awareness among the general public.
“Educating others in the community with regards to local craft industry and its uniqueness is how stakeholders can support our local artisans.
“We need a stronger voice to uphold our craft legacy and let it continuously running at the optimum level, ” he said.
We take a look at some unique local handicraft in the country that are worth our special attention.
The fame of the wau bulan is encapsulated in a Kelantanese folk song: “Ewa ewa... Wau Bule (Bulan), Wau Bule (Bulan) teraju tigo”.Wau bulan, which translates to mean “moon kite”, is widely found in Kelantan. In the past, it was often flown during padi harvesting season. It is said that farmers use the kite to create a “flying scarecrow”.
These days, the wau bulan is better known as one of the country’s national symbols, along with the hibiscus flower. The kite is even featured on the logo of the national carrier Malaysia Airlines (that, however, is a different type of wau – wau kucing).
The wau bulan is characterised by its crescent moon-like shape of the lower section (hence the name). It is also bigger than any other Malaysian traditional kite, usually about 2.5m in width and 3.5m in length.
That larger size means that the kite can be decorated with more striking motifs. And when a kite is painted with the right shade, it’s been said to resemble a rising crescent moon.
Labu sayong is essentially a gourd and in the old days, it was used as a water pitcher. The clay containers are synonymous with the royal town of Kuala Kangsar in Perak, where they are produced in several villages within an area called Sayong.
Sayong is worth visiting for its thriving pottery making scene. The ceramics here have a charming rustic quality that’s different from modern ceramics.
The original labu sayong is black in colour with minimal pattern. The colour is due the presence of rice husks in the soil that are burned during the pottery making session.
Nowadays, the pitchers come in various shapes, sizes, and colours. That blend of traditional and modernity gives labu sayong a decorative appeal, and it’s sometimes used as vases or the base for lamps.
Labu sayong makers are unfortunately dwindling and stakeholders are ramping up efforts to get younger folks involved in the craft.Pua kumbu
The Iban community in Sarawak carefully weave their culture and spirituality into the pua kumbu. The woven multicoloured textile usually features figurative motifs that convey moral teachings.
The cloth is often weaved on looms set against the extended walls of longhouses. The process is complicated and tedious. Meanwhile, the raw materials for the natural dyes are harvested from the rainforest.
Traditionally done by women, weaving pua kumbu is considered a rite of passage for young girls. It’s been said that good weaving skills is equated to matrimonial worth.
The native woven cloth is typically used as wall-hangings. They are hung prominently during joyous gatherings such as the Harvest Festival or weddings. But its function has also extended to the realm of fashion and furnishings in the modern world.
For those interested in the rich history of pua kumbu, pay a visit to the Sarawak Textile Museum and Tun Jugah Foundation in Kuching. Both venues have heritage pua kumbu in their collection.
While handwoven items can be found in many parts of the country, the weaving of bamboo and rattan is very much prevalent among the native folks of Sabah. The Dusun community, especially, are known for their traditional handiwork.
The community takes pride in creating a range of woven rattan and bamboo products. These include items such as baskets, floor mats, traditional hats and even keychains.
One of the most popular souvenir items among tourists is the tenduang. It is a food cover that comes in popping colours like pink, yellow and blue.
The tenduang, which is the pride of the Bajau community, is woven using dyed serdang leaves. The serdang tree looks a bit like a palm tree and grows wild in swampy areas.
Tekat is the Malay traditional art of gold-and-silver thread embroidery. It is one of the most notable forms of traditional embroidery in the country.
In the past, tekat embroidery is used to decorate royal items during coronations and weddings. Most of the time, tekat embroidery is done on velvet to elevate the lavishness of the items.
According to academicians, the practice of tekat is concentrated in Kuala Kangsar. Even then, many practitioners are old and often have no heirs or students to pass their knowledge to.
Experts have warned that tekat is facing severe decline if not total extinction.
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