CONTENTS - Crafthub

CONTENTS
2
Editorial
Sarawak Craft Council
3
Consumer’s Viewpoint
4
The Sape
6
Looking Forward to
the Past
8
Home Handicraft
Programme
11
Rainforest World Crafts
Bazaar 2008
Crafts News
1
Editorial
SHOWCASING CRAFTS
The Sarawak Craft Council is in the business of promoting our local crafts business. It carries out its task in a variety of ways, some of them
seemingly simple - identifying a craft that would be commercially viable, getting its practitioners interested in producing in a rational way,
educating artisans, and often whole communities, in very basic tasks like book keeping. Much of this work is done almost invisibly,‘behind
the scenes’ so to speak.
The production of craft is only one aspect of the whole business, of course. Prospective buyers have to be located, and they need to be
informed of what we have to offer. This is where well-planned and focused exhibitions, staged locally or travelling overseas, play an
important part.
Merchandise is ‘showcased’ in shops, as the term suggests; this requires that the buyer comes to the seller and inspects the wares. At other
times, the wares are brought to the buyer; the SCC regularly takes part in craft fairs held in West Malaysia, or further afield.
Besides bringing Sarawak products to the world’s attention, all those who travel with such an exhibition - artisans, SCC officers - benefit
greatly by learning what is done in the wider world of handicrafts. Most Southeast Asian countries use more or less the same raw materials
our workers have access to. How do they process them? How do their techniques, colour schemes, finish and quality compare to ours? If
we simply stay at home and continue to produce the same items over and over, we will no doubt preserve our manual skills, but will we be
competitive players on the world crafts stage?
In July 2008, the SCC and a group of dedicated craft promoters will mount the first ever international craft exhibition in Sarawak, the
Rainforest World Craft Bazaar (see p.11). The timing of this event is designed to cater to the international crowd taking part in the great
Rainforest World Music Festival - here are the buyers. It will also bring in international craft designers and producers - here is the outside
inspiration without which our own crafts are in danger of stagnation.
Some of our readers will be joining the Rainforest World Craft Bazaar as exhibitors and vendors, and we hope to see everybody else there
too, as browsers, admirers, shoppers. An international, interactive crafts bazaar will provide the artistic stimulation that some of our
craftspeople are seldom exposed to. The visitors from outside Sarawak, on the other hand, will draw inspiration from our traditional
heritage. And quite beside the artistic cross-fertilization, a smoothly managed handicrafts showcase is an ideal meeting ground for making
business contacts. Producer meets buyer, designer meets artisan, new fashions and trends are disseminated.
Sarawak has something to show off that we may be rightly proud of, but we must never be too proud to learn from others!
CRAFTS welcomes your comments. Mail to: crafthub@gmail.com
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
CONSUMER’S VIEWPOINT
by John Nyuek
There is a lot of talk on the quality of Sarawak crafts
these days. The reason is not hard to see. The quality of
our handicrafts has declined inexorably. A brief walk along
The Main Bazaar, Kuching will convince anyone of this
trend. Pick any of the items, be they mats, baskets or
parang (heavy knife) and compare those that were made
forty years or earlier with those made more recently and
you will notice the difference immediately. Those earlier
made ones are products of quality while those made more
recently are generally tacky.
All of us, producers, vendors, buyers and the government
must think in terms of quality if we are to arrest the
inexorable decline in our handicrafts industry. Greater
emphasis should be given to education, exposure and
training of our craft makers. Also, measures should be
taken to ensure that the necessary raw materials are
readily available. Raw materials such as rattan, which at
one time was assumed to be in abundance, are now
becoming more scarce.
What are quality products? Put simply, quality products
are products that a discerning consumer would want to
buy, and would be proud to own and display. They have
the following characteristics:
Few countries in the world can match the richness and
diversity of our handicrafts. Their proper development
would not only enhance our common cultural heritage,
but it would also generate more economic opportunities
as well as strengthening our sense of unity and solidarity.
* They are well made; they don’t fall apart easily
* They are authentic; if they are Bidayuh kasah (rattan
mat) they fulfill the requirements of that type of mat
(Datuk John Nyuek, a now retired member of Malaysia’s
diplomatic corps, had unique opportunities to study the
crafts of many countries and compare them with our own.
Ed.)
* They are functional if that is their purpose
* They are a thing of beauty, pleasing to the eyes, even
if they are functional items
* They have distinctive and unique characteristics in
terms of design, motif and other features.
Items of low quality, on the other hand, are those that
you don’t want to have and would not want to display.
Poor quality products, sooner rather than later, are rapidly
discarded into the rubbish bin.
When I was Malaysian Ambassador to Myanmar, Mexico
and Venezuela, our Embassy in each of these countries
participated in the exhibition/sale of handicraft items and
food. On the whole, the sale of items was quite
successful. But there was one group of items, the parang
ilang (an Iban fighting knife), which I just could not bear
to exhibit. A well-made parang ilang is an item of treasure,
but those supplied to the embassies were, unfortunately,
just too poorly made. In the end I gave them away to my
drivers in Venezuela, after I had taken them with me to
three countries. It was a pity!
But I think I made the right decision in not exhibiting them.
Even in the area of handicrafts where there is a very
wide range of choice, exhibiting poor quality products
would only erode the competitive edge of the country/
company concerned. Likewise, it could generate a bad
reputation and negative image. Quality products, on the
other hand, will market themselves with little promotion
and enhance the country’s/company’s reputation and
image.
3
Good quality kasah mat, made of mature rattan.
Poor quality kasah, made from young rattan.
by Annette Bessant
The haunting music of this traditional Orang Ulu instrument has a universal appeal. The music created on this ‘Sarawak
guitar’ can be soothing to the mind, or catchy enough to make you want to dance.
Until the early 20th century the instrument was made with only 2 strings and played during rituals. Since then it has
evolved to include more strings, and be used to accompany songs and dances in the longhouses. Now it is symbolic
of Sarawak and travels all over the world as part of Sarawak Tourist Board Promotions.
Sape making
The traditional wood used for making a
sape is adau, which is also used for boat
making where a similar technique of
hollowing out is used. The wood is dry
and light, manageable for use with hand
tools. Other suitable wood is porah or
merdang (Cinnamomum spp), also used
for longhouse-building.
A single piece of wood is first cut to shape, then the back is hollowed out.
The shape of the sape is similar to that of the boats used by the Orang Ulu
people. After smoothing the body and shaping the neck, holes and wooden
pegs are made.
The decoration is then added. This may be carved or painted on to the sape
body. In the old days the sape makers boiled roots and leaves to extract
black and red coloured latex. Nowadays it is mostly acrylic paint. Fern and
dragon motifs are the decoration of choice, these are very much a part of
the instrument’s character and attraction.
4
Dragon motif decoration painted on a sape
The frets, made from pieces of palm stalk, are not fixed, but only
tacked on to the sape’s neck with a gum produced by a wild wasp.
They can be moved to change the tuning of the instrument.
Wooden pegs hold the strings; these also can be tightened or
slackened to adjust the tuning.
The strings are added last. The traditional material was a jungle
fibre or finely split rattan, in the 19th century copper wire was used
where it was available. Today, guitar strings are chosen for durability
and volume.
Modern 8-string sape
Traditional motif on modern sape
The whole process, which used to take two weeks by hand is now
possible in a few days thanks to the invention of power tools.
A traditional finish rarely seen on modern sape is the addition of a carved hornbill at the head. This is a reminder of the
instrument’s ability to mimic the sound of that magical bird. The size of the sape is entirely the choice of the maker; if he
produces it for his own use it will be to his own preferred size. The older instruments tend to be larger for better resonance.
However, with the addition of amplifiers and acoustic pick-ups the body does not need to be big; modern sape are slimmer.
Not every sape-maker is also a player. Instruments made for sale tend to more ornamental, and of standard sizes.
Sape music
The sape was traditionally played by men. A player sat on the floor with one leg crossed over the other. The 2 or 3 strings
had a limited range of no more than 3 octaves. A melody was played on one string by both strumming and picking whilst the
other string was strummed to create a rhythmic drone.
Dance music for the ladies is not the same as that for men. It tends to be higher pitched; the frets are moved to achieve this.
The late Tusau Padan brought the sounds of the sape to the world, both by his personal appearances in many countries
and with his recordings. Nowadays another Kenyah, Mathew Ngau Jau, continues to take the music of Sarawak overseas.
Mathew makes his sape of different woods, which he collects from his longhouse at Long Seminyeng. He is now, with the
aid of power tools, experimenting with his first belian wood sape. He chooses to play 3- or 4-string sape and uses an
acoustic pick-up to amplify his music for a bigger audience.
Most sape players used to be Orang Ulu, but the appeal of
the sape, through the teaching of the masters, is spreading.
Tuyang Tan Ngan, a yoga teacher with a flair for music, has
developed a passion for the sape. Tan has learnt to make
his own sape, some with as many as 8 strings. The extra
strings enable modern music to be played and give the
traditional compositions new depth. Tan plays traditional
music and writes his own modern compositions merging the
old with the new to create a unique blend of sounds.
The sape has successfully moved from one era to another.
With the rise in popularity of this unique Borneo instrument
and the innovativeness of its players, the original number of
only about 30 songs has already been extended to over 100,
and counting!
5
Tuyang Tan Ngan
GeraiOA Coordinator explains chemical dyes to
Jakun pandanus weaver Jadam,
in Pahang. Photo Colin Nicholas
by Reita Rahim
Over the past three years, a small group of volunteers
based in Kuala Lumpur have been busy selling handicrafts
made by the Orang Asal – the indigenous minorities of
Malaysia. Calling themselves “GeraiOA” or ‘Indigenous
Peoples’ Stall’, this nomadic stall has made appearances
at craft & charity events, college fairs and at various
conferences within and outside of Malaysia. Stocking
common items ranging from mats, baskets & beads to
more unusual items like marriage puzzles and nose flutes,
the GeraiOA offers much more than meets the eye.
Humble Origins
GeraiOA’s philosophy is to help indigenous communities
help themselves. Every sale contributes towards the
revitalization of Malaysia’s indigenous craft heritage. As
it is volunteer-run and operates only at rent-free temporary
premises, 100% of sales monies goes directly back to
the craftspeople, their businesses and/or organisations.
Being neither a business nor a non-governmental
organisation (NGO), GeraiOA has no permanent
premises, receives no funding and has no bank
account. But what it does have: committed volunteers
who contribute their expertise in marketing,
communications, design and research to aid
indigenous craftspeople.
GeraiOA was initiated in October 2004 by craft
researcher Reita Faida Rahim and Raman Bah Tuin,
a Semai craftsman & traditional musician. What begun
as a day-long stall set up in a local college fair soon
turned into a grassroots effort to bring indigenous crafts
into mainstream markets.
Dyeing instructors from Pulau Carey, Selangor,
at the NTFP-EP workshop.
6
GeraiOA initially sold crafts made by the Mah Meri group of
Pulau Carey (Selangor), the Semai of Tapah (Perak) and the
Rungus of Kudat (Sabah). Now GeraiOA carries a wide range
of items from seventeen ethnic groups including four from
Sarawak: the Iban, Bidayuh, Lun Bawang and Penan.
Re-branding the Past
Malaysia has a rich handicraft heritage, but this is often poorly
reflected in items available for sale in craft shops. A cursory
glance at shops along the Main Bazaar in Kuching or Kuala
Lumpur’s Central Market sees rows and rows of look-a-like
mass produced handicrafts from Indonesia, Thailand and the
Philippines.
Economic necessity and the lack of availability of enough
made-in-Malaysia crafts has contributed to this sad state of
affairs - GeraiOA is’‘fighting back’ by promoting handicrafts
which has been relegated to grandma’s cupboards or
museum displays.
Raman (far right,headgear), teaching buyers how to play a Dusun bungkau
(jew’s harp) from Sabah. Photo: Reita Rahim
Prior documentation efforts by the founder helped to
identify craftspeople and their skills, while creative redesigning and colour management created ‘new’ products
from traditional archetypes.
However, it wasn’t always easy as most traditional
craftspeople GeraiOA worked with are old and
uncomfortable with change, even to colour schemes. For
example, it was very difficult to convince old pandanus
(screwpine) weavers to discard vivid greens & pinks for
muted autumn browns (which they deemed “dull &
lifeless”).
Once the craftspeople understood why GeraiOA was more
interested in items used “during their grandmother’s
times”, many begun replicating pieces from their recent
past – crafts now rendered obsolete.
And it is this very obsolescence which makes it ‘new’ to
today’s craft buyers! They’ve never seen items such as
areca sheath water dippers and seed necklaces. But the
initial novelty can wear off, so GeraiOA has to constantly
help re-develop new products from the old.
Building the Market
While prices of crafts sold by GeraiOA may seem a little
higher than the average stall, it is a ‘fair trade’ price – fair
for both seller and buyer. Excluding exploitative practices
and ensuring sustainability of non-timber forest products
including rattan and pandanus appeals to many
environmentally-conscious buyers. They are willing to pay
nominally higher prices if this will directly benefit a named
craftsperson.
This is about building a rapport between the buyer and
the craftsperson; anonymity is abhorred. GeraiOA
volunteers educate buyers not only about the crafts they
are looking at, but also about the people who made them,
and the time taken to produce each item. The stall also
displays pictures of some of the craftspeople at work to
highlight working conditions.
GeraiOA products come with a brown tag naming the
craftsperson, age, ethnic group, village, what the item
originally was, and what it can be used for in today’s
context. Handouts explain about the ethnic group which
made each craft article.
7
Nest of three pandanus baskets, developed from traditional Jakun betel
boxes. Photo: Reita Rahim
Necklaces made of natural seeds by indigenous Malaysians; each producer
is identified on the brown paper label
All these efforts to educate the buyer have paid off. GeraiOA
has numerous repeat buyers, yet initial publicity was only
by word of mouth. One early problem encountered was
how to inform buyers of upcoming sales; GeraiOA had no
shop. So we went high-tech, using emails and SMS mailing
lists to update buyers!
But That’s Not All
GeraiOA also runs several other programmes to benefit
indigenous craftspeople. As a matter of principle, no money
is given upfront as inducement to produce items (except
for the purchase of ready crafts). Free tools, bead findings
and dyes are provided initially but subsequent
replacements are all paid for.
GeraiOA makes periodic visits to different Malaysian
villages to advise craftspeople of suitable colours & any
required design modifications. It is during such visits that
the craftspeople are paid, and customer feedback is
discussed. When funding is available, specific themed
workshops are held, for example, a three-day Pandanus
Masterclass for the Orang Asli in June 2007. Smaller
workshops and interactive sessions are also conducted
for the public, often employing indigenous people as
teaching instructors. Lectures & field visits are also held,
mainly for students and special-interest groups. All in all,
GeraiOA is much more than a mere handicraft stall. The
volunteers aim to keep indigenous heritage alive by making
it relevant for the 21st century.
HOME HANDICRAFT PROGRAMME
by Raymond Avet
Handicrafts have traditionally been seen as ‘something women do
in their spare time’ by Sarawak’s rural population. Recognizing
this fact, the Sarawak Craft Council has decided to go along with
the trend, so to speak – if you can’t get the craftworkers into a
structured commercial environment, you can bring some
commercial structure to where they are, in the villages.
The Home Handicraft Training Programme (HHTP)was started back
in 1996, as an effort by Sarawak Craft Council to train and guide
local crafts producers so that the culture of art and crafts will not
vanish in the fast pace of the modern age. There was a perceived
need to enhance creativity, to work on new product design, to teach
the craftspeople book keeping and similar skills.
Aini Sawat in Kpg.Bedil, Kenowit, plaiting bemban fibres
The HHTP takes the form of workshops, conducted in centres
located all around Sarawak. In the Northern Region there are centres in Miri, Lawas and Limbang, in the Central
Region they are located in Sarikei, Sibu, Belaga, Bintulu and Kapit, and in the Southern Region there are centres in
Bau, Serian, Sri Aman and Betong as well as near Kuching.
˜˜
At the present moment there are 3 SCC officers involved with the HHTP, Mr Diweng Bakir (Exec. HRD), assisted by
Mr Tandang Matu and Ms Ester Indut. They travel to all the regions to monitor the progress of the HHTP trainees in
terms of product volumes and sales; they also help to solve problems and give any production assistance that may
be needed.
˜˜
The most common problems faced are lack of tools and machinery.
Some modern equipment can really speed up the process of
making handicrafts! There is a grinder for woodcarving and
bamboo, or the specially designed sewing machine for bemban
products. Lack of tools is a key factor in low volume production.
˜˜
The Sarawak Craft Council feels that it is our responsibility to
improve the livelihood of the trainees. They need a second source
of income, besides farming. SCC has given considerable amounts
of training/grants and we feel this is time and money well spent,
for under HHTP the trainees develop not only skills, but they
improve their livelihood.
Buff-red-black, generally known as the ‘Kenowit Basket’,
produced by Aini Sawat of Kpg.Bedil in – where else?
Joseph Limun of ‘Joecraft’ at work
Rosita ak Budget of Kpg.Pichin, Serian, demonstrates that bamboo whittling is not only ‘man’s work’
8
Southern Region
Trainees
Segan ak Degon ( Kpg Lebor Serian )
Lumat ak Lebong ( Kpg Lebor Serian )
Sahat Bin Akip ( Lundu )
Joseph Limun ( Kpg Kakeng Serian ) *
Edwin Sinjan ( Kpg Pichin Serian) *
Mayah ak Medan ( Kpg Pichin Serian) *
Rosita ak Buget ( Kpg Pichin Serian)
Lamon ak Mani ( Bau )
Nola ak Poh, ( Kpg Entayan Serian )
Manoi ak Jarau
Rose Mary ak Jagak (Kerangan Tekalong)
Morshidi bin Johari ( Satok Kch ) *
Rosmawati Bt Buang ( Petrajaya Kch )
Product
Trainees
Product
Bakul Bemban
Bakul Rotan
Ukiran Kayu
Produk Buloh
Produk Buloh
Bakul Buloh
Tabung Buloh
Bakul Bemban
Bakul Bemban
Bakul Bemban
Bakul Bemban
Manik
Manik
Ringgang Kimson (Kota Semarahan)
Mordiah Bt Apit ( Petrajaya kch )
Halmi Bin Chek ( Petrajaya kch ) *
Yusup Bin Nor ( Bako )
Norita Bt Abdullah ( Bau )
Ambi Bt Bie ( Kota Semarahan )
Ngot Bt Bie ( Kota Semarahan )
Ramlah Bt Kipli ( Kota Semarahan )
Easther Sired ( kpg Semeba kch )
Noraini Bt Zaidan ( Petrajaya )
Hjh Mastura Bt Sedik ( Petrajaya kch )
Norzini Nawawi ( Petrajaya kch )
Bunga Daun Getah
Batik
Batik
Ukiran Kayu
Seramik
Anyaman Mengkuang
Anyaman Mengkuang
Songket
Bakul Rotan
Keringkam
Keringkam
Perahu Tambang
Central Region
Trainees
Jantia ak Ladong ( Kapit )
Enggang ak Tukau ( Kapit )
Tima ak Unggat ( Kapit )
Lika ak Jalin ( Kapit )
Aini Bt Sawat ( Kanowit )
Urin ak Sekam ( Kanowit )
Icheng ak Iyai ( Kanowit )
Lilly ak Nickholas ( Kanowit )
Teresa ak Tindit (Kanowit )
Jam ak Malang ( Julau ) *
Biku ak Jawi ( Julau )
Malang ak Jabu ( Julau ) *
Rosnani Bt Sami (Matu Daro )
Norani Bt Nor ( Matu Daro )
Ahdi Bt Awi ( Igan )
Product
Trainees
Patihah Bt Yahya ( Mukah )
Jimmy ak Tuba ( Durin )
Desmond Ngalang ak Juan ( Durin )
Maria ak Gundi ( Durin )
Polly ak Stang ( Betong )
Jani ak Stang ( Betong )
Pauline ak Ebah ( Betong )
Satik ak Kat ( Pakan )
Selia ak Dungok (Pakan )
Lidang ak Budah (Pakan )
Sudan ak Undu (Pakan )
Mek ak Senabong (Roban )
Liah ak Umal ( Ng Skuau ) *
Hjh Sa anah Bt Sazali (Sarikei ) *
Dyg Norsalam Bt Perseh (Sarikei ) *
Pua Kumbu
Pua Kumbu
Pua Kumbu
Pua Kumbu
Bakul Bemban
Bakul Bemban
Bakul Rumbia
Bakul Bemban
Bakul Bemban
Ukitan Kayu
Pua Kumbu
Terabai
Bakul Rotan
Topi Melanau
Topi Melanau
Product
Bakul Rotan
Ukiran Kayu
Ukiran Kayu
Bakul Bemban
Tikar Bemban
Tikar Bemban
Pua Kumbu
Bakul Rotan
Bakul Rotan
Bakul Rotan
Bakul Rotan
Pua Kumbu
Pua Kumbu
Songket
Songket
Nothern Region
Trainees
Abdul Malik Bin Adenan ( Bekenu )
Rose Belare (Long Napir baram)Bakul
Nguh ak Sambang ( Miri )
Jinih ak Unit ( Miri )
Hendrick Nickholas ( Long Bangga Baram )
Helen Kelambu ( Bukit Song Miri )
Wan Shafie ( Bekenu )
Gloria ak Manggo ( Lambir Miri )
Margret Ating ( Long Tuma Lawas ) *
Litad Mulok ( Long Tuma) *
Joseph Purait Budi (Long Tuma )
Suut Kurus ( kpg Tang Itong ) *
Kamu Arun ( kpg Tang Itong ) *
Roland Pian ( Limbang )
Siling Bt Miang ( Limbang )
Rahman Apek ( Long Beruang )
Mamat Tawan (Long Beruang )
Product
Trainees
Batik
Rotan
Manik
Glass Crafting
Ukiran Kayu
Manik
Batik
Bakul Rotan
Manik Lawas
Manik Lawas
Gelang Rotan
Kulit Kayu
Kulit Kayu
Gelang Rotan
Bakul Kedayan
Ukiran Kayu
Ukiran Kayu
Ngang Tinggang (Long Dungan )
Egim Along (Long Mekero Belaga )
Salimah usit (Long Mekero Belaga )
Eman Utong (Long Mekero Belaga )
Rupiah Avit (Long Mekero Belaga )
Bulan Avit (Long Mekero Belaga
Alice Sigo ( Asap resettlement Bakun )
Soung Tinggang (Asap Bakun)
Adu Liau (Asap Bakun )
Ured Kayang ( Asap Bakun )
Tinggang Lahang (Asap Bakun)
Petrus labid baling (Bakalalan )
Sang Sigar (Bakalalan )
Saluma Jalong (Long Lellang )
Freda Lawan ( Long Bangga )
Jok Jau Evong ( Marudi )
9
Product
Parang Ilang
Gelang Rotan
Gelang Rotan
Parang Ilang
Manik
Manik
Manik
Parang Ilang
Parang Ilang
Parang Ilang
Tikar Rotan
Kulit Kayu
Gelang Rotan
Ajat Penan
Manik
Ukiran Kayu
10
by Heidi Munan
News! News! The inaugural Rainforest World Crafts Bazaar
will be held at the Sarawak Tourism Complex (Old Court
House), Kuching from 9-15 July, neatly overlapping the
Rainforest World Music Festival!
Sustained by the Sarawak Craft Council, the Ministry of
Tourism and the Sarawak Tourism Board, this event will
coincide with the RWMF (www.rainforestmusicborneo.com), attracting huge crowds from all over the world.
Part of the Music Festival’s workshops will be conducted at
or near the venue of the Rainforest World Craft Bazaar to
make sure the crowds roll in.
Australian fibre artist Jill Brose with some of her creations
The main focus of the Rainforest World Craft Bazaar is the
use of traditional materials and traditional skills’enhanced
by competent modern design. Modern materials, in welldesigned applications, also have a place in the Rainforest
World Craft Bazaar; there is particular interest in the novel
use of recycled substances such as metals, plastic, textiles
etc. The bazaar promises to be a meeting place of east and
west on the craft platform, not omitting north and south
…everybody will be there so don’t miss it! Don’t miss the
fun, or the bargains, or the first look at what’s new in the
world of handicrafts. The SCC is particularly keen to hear
from any prospective volunteers. If you have the time, and
any kind of administrative, organizational or simply social
skills, please contact us at the addresses below.
At the moment we are expecting participation from Malaysia,
Indonesia, Thailand, the Philippines, Indochina, Australia,
Europe and the Americas.
table and two chairs. Power (210-240 V) connections will
facilitate lighting displays as well as the use of educational
and documentary video material. There is 24-hour security in
the complex. Local volunteers are available for general help.
Booth rentals: Whole booth (3x3 m)
Half booth
: US$ 500
: US$ 300
These rentals apply to booths inside the venue.
A number of outside ‘tent’ booths will also be put up, designed
specially for local vendors who may be better able to cope
with the climate. Please inquire about the rates for these
outside booths.
Queries and comments to the SCC,
beatricekedoh@yahoo.com, tel 082 245 652,
crafthub@gmail.com, or muheidi@pc.jaring.my
The Rainforest World Craft Bazaar will be housed in the
airconditioned complex. Booths have a solid backdrop, a
WHAT’S ON IN THE WORLD OF CRAFTS
Permanent Craft Mart: Handicraft Centre,
Brooke Road, MIRI
Regular weekly Craft Mart at the waterfront,
Friday-Sunday, KUCHING
March 28 - April 7: Hari Kraf Kebangsaan
(National Crafts Day), Kompleks Kraf Jalan
Conlay, in KUALA LUMPUR
April 28-29: Pua Kumbu (ikat weaving)
Competition, in conjunction with the Balleh Kapit
Raft Safari, in KAPIT
April 23-27: Jakarta International Handicraft
Trade Fair
Balai Sidang Jakarta Convention Centre, in
JAKARTA
Contact: asephipusat@telkom.net, www.asephi.org,
tel 62 21 725 2032, fax 62 21 725 2062
April 21-22: Handicraft Competition in
conjunction with Pesta Kaul, in MUKAH,
Sarawak
August: (tentative dates 4-5, to be confirmed)
2nd ASEAN Traditional Textile Symposium,
organized by the Museum in Manila and the ASEAN
April 25-27: Sarawak Handicraft 2008, a
Foundation, in MANILA.
vibrant craft fair at the Imperial Shopping Mall This is a follow-up of the first ASEAN Textile
at Concourse Area in MIRI
Symposium which was held in Jakarta in 2005.
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September 24-27: 11TH Textile Society of
America Biennial Symposium, Sheraton
Waikiki; Honolulu, in HAWAII
Contact: Tom Klobe, klobetm@hawaii.edu,
(808) 261-6461; Reiko Brandon,
rbrandon@hawaii.rr.com
September 26-30: The Miri International
Beads Exhibition at the Miri Handicraft
Centre, Brooke Road, in MIRI
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