Pengamalan Muzik Tradisional Taboh Dalam Budaya Iban Di Sarawak

In the Iban society, taboh is one of thier tradisional music. Taboh refers to the tune produced by Iban tradisional music intrument. Taboh has a special place amongst the Iban soceity in Sarawak. This is because taboh is considered as a cultural identity despite relationship between the Iban people or between the Iban people and the gods and supernatural beings. Taboh is not just a tune produced by the musical intruments but also brings symbolic meaning and certain philosophy. Hence, taboh is still a relevant pratice until today. There are few musical intruments played in the taboh Iban music namely gendang, engkerumong, tawak and bebendai. However, tawak is the main musical instrument used to produce taboh amongst the Iban music. Performance of the taboh music vary according to occasion. Occasion namely such as ajat dance and ngajat, a new longhouse was built, blessing of new longhouse, uncloud moon esclipse, healing ritual, and gawai kenyalang festival. Apart from that, is also played for gawai ritual spesifically gawai naku antu pala, also to summon the gods and supernatural beings two week before gawai festival. Summon of gods is to get blessing in the Iban daily life. Taboh is also used as a mesengger for all the Iban longhouse

The Iban Visual Culture: Miring

Iban Community is one of the biggest community groups that live in all parts of Sarawak. In addition, the Iban community in contemporary erahas embraced major religions such as Christianity and Islam

The problem and challenges faced by Sarawak handicraft entrepreneurs

This study briefly discussed about the problem and challenges faced by Sarawak handicraft entrepreneurs such as forest-based products, textile products, metal-based products, ceramic products and assorted crafts in the state.It is based on my research carried out in the year 2011 till 2012.Most entrepreneurs that are involved in this research were registered under Perbadanan Kemajuan Kraftangan Sarawak and Sarawak Craft Council by making handicrafts-as full-time or part-time jobs. Some of them have been identified actively producing handicrafts in a big and small scale.Nevertheless, to develop and expand their products in the market, they encounter several problems and challenges, relatively to the lack of raw materials.This has been a very common issue highlighted by the entrepreneurs during this research is conducted since 2011. Besides that, few of the handicraft entrepreneurs in Sarawak have been identified to face with the lack of capital, long time of product completion, inadequate of technological equipment, market and customer demand, and so forth

Cabaran Dan Peranan Pembuat Kraf Dalam Pelestarian Budaya Benda Masyarakat Orang Ulu Di Belaga Sarawak (Craftmakers' Challenges And Roles In Sustaining Material Culture Among The Orang Ulu In Belaga Sarawak

Orang Ulu is comprised of many ethnic groups; Kayan, Kenyah, Bhukat, and Penan. These groups were known for fine craft makers in the past. They took advantage for the diverse species of natural construction materials such as rattan, Pandanus, bamboo, and donax within their environment to produce a range of craft objects. Modern lifestyle and changing livelihood influence Orang Ulu’s needs and the necessity for materials. Traditional objects are seemed impractical and redundant to their contemporary subsistence and socio-economic activities, religion practice and global trend and taste. On the other hand, the changing of the physical landscape due to development projects in the region has caused a scarcity of construction materials, both in quantity and diversity. All of these factors affect the traditional craft-making activities and have become the main challenge for the Orang Ulu craft makers to sustain their tradition and heritage. This paper discusses the roles and challenges faced by the Orang Ulu’s craft makers in their effort to sustain the craft-making activities and traditional material objects among the Kayan, Kenyah Badeng, Bhukat and Penan communities in the Sg. Asap resettlement scheme of Belaga. Different approaches and strategies were adopted by the craft makers within the individual community to overcome the adversities

The Ibans belief towards the meaning of Pua Kumbus motif

This article emphasizes on the findings on the level of knowledge and perception of Pua Kumbu in young Iban generations. This includes the uses, meaning of motif and rituals related to this fabric. Factors contributing to the declining belief in using Pua Kumbu in their traditional practice were also explained. The knowledge in traditionally weaving the Pua Kumbu was mainly reserved to certain class of woman in the long house. The chosen motif was dependent on illustration that appeared in their dream, where they believe that this was a sign or omen. The rules of weaving motif were also explained. There were three significance motifs with its own hidden meaning found in Pua Kumbu; the ular (snake), antu engkeramba and baya(crocodile) which became the belief of the Iban people. This study suggests that the lack in knowledge and interest in the Pua Kumbu may come from factors such as relocation away from the long house, modernization, religion and generation gaps

TTikar Bergerang: The Reflection of Culture And Heritage Of The Saribas Malay, Sarawak

This paper investigates the indigenous knowledge of mat making and its social context in Malay community of Saribas. It focuses on tikar bergerang in particular. The mat which incorporates open weave, creates a lace impression pattern around the body weave frame. As stated by Awang Azman (2010), material culture’s scholar, there is an urgency to study Sarawak Malay due to a significant dissimilarity between them with the Malay of Peninsular Malaysia in many aspects of local knowledge and heritage. Thus, the aim of this research is to discover the production technology, role and values of tikar bergerang in the Saribas Malay community in Sarawak. Through in-depth interviews with tikar bergerang weavers and observation, the cultural object is analysed using material culture study developed by Fleming (1974). The result indicated that the mat is only intended for important function and perceived as a sacred material object. The mat complex patterns and complicated weaving techniques reflect the idiosyncrasy of Saribas region compared to other parts of Sarawak, the intellectual, indigenous technology and common values shared among its community