Latest news with #MalaysianHandicraftDevelopmentCorporation
The Star
08-08-2025
- General
- The Star
S'wak artisans weaving new life into old crafts
High craftsmanship: (From top) Bawih demonstrating her rattan-weaving skills at a craft exhibition in Kuching; Ezra showing her range of bead accessories which includes traditional Bidayuh necklaces and contemporary creations. KUCHING: Across Sarawak, artisans are keeping indigenous crafts alive by preserving traditional techniques while adapting their designs for contemporary use. Craftspersons like Penan weaver Bawih Tingang have also reached wider markets by participating in craft fairs around the country. Bawih, who comes from the remote village of Long Iman in Mulu, learnt to weave rattan baskets at a young age. 'Weaving is a traditional craft of the Penan. 'We use these handwoven baskets in our daily lives to carry things. 'Nowadays, we can also sell the baskets to others,' she said. Bawih started making handwoven products for sale in 2014, weaving not only traditional Penan baskets but also bags for contemporary use. 'The modern bags are all my own design. 'Everyone likes them because they can be used daily, as handbags, for example,' she said. For Bawih, making baskets and bags for sale is a way to preserve the traditional craft of weaving while bringing in revenue. 'By selling my products, I can earn additional income for my children's schooling needs and for kitchen necessities,' she said. Attractive colours: Ezra showing her range of bead accessories which includes traditional Bidayuh necklaces and contemporary creations. Her pieces are priced according to size and design. Each piece is made by hand, a process that begins by going to the jungle to collect rattan. Next, the rattan is washed and split into long, thin strips. They are then dyed with natural dyes. 'It takes a long time to collect and prepare the rattan for weaving,' Bawih said. 'Once the rattan is ready, I can complete weaving one bag in four days.' Bawih usually sells her products at craft exhibitions in Sarawak and occasionally in Peninsular Malaysia by invitation from the Malaysian Handicraft Development Corporation (Kraftangan Malaysia). 'The buyers include locals and foreign visitors. 'If I have the opportunity, I would like to learn how to sell my products online,' she added. Ezra Rejem is another crafts artisan making both traditional and contemporary designs. A Bidayuh from Kuching, she learnt to make bead jewellery as a hobby upon retiring before venturing into selling her work at craft exhibitions organised by Kraftangan Malaysia. 'I make Bidayuh necklaces in traditional designs and colours of red, black and white beads, which people still want to wear as accessories during festive occasions like Gawai. 'I also make my own contemporary designs which can be worn on other occasions, like a formal dinner,' she added. Ezra said that coming up with new designs alongside traditional ones was a way to keep the craft relevant. 'The modern designs cater to contemporary needs and tastes. 'At the same time, I'm also preserving traditional Bidayuh bead craft. 'It's important to keep the craft alive because it's part of our culture and heritage,' she added.
Sinar Daily
28-06-2025
- Business
- Sinar Daily
Batik revival faces identity and style challenge
KUALA LUMPUR - Since the mandatory implementation of batik attire among civil servants in 2023, this textile craft has experienced a resurgence, capturing the interest of various generations. Despite this growing popularity aligning with the government's aspiration to preserve and strengthen batik as part of the nation's cultural heritage, in reality, local support for Malaysian batik remains inconsistent and not yet deeply rooted in society. The mandatory implementation of batik attire for civil servants since 2023 has sparked a resurgence of interest in this traditional textile, aiming to preserve and strengthen Malaysian cultural heritage. - Bernama file photo Nearly three years into its weekly adoption by civil servants every Thursday-a practice that has since garnered interest from other sectors as well-Universiti Kolej Tunku Abdul Rahman fashion lecturer Shabri Saad said that consumers still tend to favour batik from neighbouring countries over locally made ones. "Batik isn't just a pattern. It's an art form-wearable artwork. I appreciate all types of batik, whether from Malaysia, Indonesia, India, China or Cambodia. But as Malaysians, we must uphold the art that originates from our own land. "If we don't support local batik artisans, I fear one day this craft will only exist in museums,' he said, adding that the preference for foreign batik is likely due to a lack of awareness and confusion surrounding the techniques, motifs, and true cultural value of batik. With more than two decades of experience in the batik world, Shabri noted that Malaysian batik-be it from Kelantan, Terengganu, Kedah, or Melaka-each carries a distinct beauty that must be preserved. For this reason, he believes that revitalising support for local batik cannot rest solely on government efforts, including initiatives by the Malaysian Handicraft Development Corporation (Kraftangan Malaysia). Instead, it must involve collaboration with all stakeholders, including NGOs, artists, and consumers. In this context, the Master of Design Technology holder highlighted the need for local batik to evolve, particularly in terms of design-moving away from overly dense and multicoloured motifs-as today's generation tends to prefer simpler, modern, and contemporary styles. "Young people want batik that's stylish, not something that looks like it's for uncles. A good batik design is one that makes the wearer look fresh and fashionable, without compromising on its cultural essence,' he said. He also recommended exploring more sophisticated colours that align with global fashion trends, such as toned-down hues, earthy tones, or pastels, which could help elevate Malaysian batik onto the global stage. Touching on pricing, Shabri noted that printed batik should not be completely dismissed, as it can serve as an entry point for the public to appreciate local batik designs and identity, especially considering its affordability compared to hand-drawn batik. "If we reject everything that's cheap, eventually even authentic batik will lose demand. With better understanding, appreciation for real batik will naturally grow,' he added. Meanwhile, 37-year-old civil servant Debby Lucas believes batik is more than just a meaningful cultural heritage-it is also a product of craftsmanship that requires patience, precision, and high creativity. "Each motif tells a story about nature, life, and community identity. In the past, batik was only worn to formal events, but now it's a modern fashion item suitable for the office or as a statement piece on the international stage,' she said, commending batik fashion designers who cater to young people's tastes. Faizah Ibrahim, 28, said price is not a major deterrent as there are still affordable batik options that match her personal style, including pieces she purchased from the Malaysian Prisons Department gallery. "I like batik made with dyeing techniques because it's comfortable, unique, and special-the patterns are one-of-a-kind. I also prefer tailoring my clothes over fast fashion because it looks neater, lasts longer, and is eco-friendly,' she said. - BERNAMA
