This is the last part of a two-part series on the enduring legacy of the Gajah Oleng.
The Gajah Oleng is a timeless charm that is at risk of losing its place within the community. Nevertheless, its revitalisation and reintroduction have intrigued many with its beauty. Sharing more about the elements of the attire, tukang hias Danny Mohd Zulkifli elaborates to Sarawak Tribune.
The timeless elegance of the Gajah Oleng
A heritage that is preserved through time breathes traditions into the future and embodies the pursuit of preservation. When a root is lost, its identity dissipates. In the pursuit of preserving the Gajah Oleng, an ornamental attire worn by brides during their wedding ceremonies, modern-day tukang hias Danny Mohd Zulkifli has learned the trade in hopes of continuing the tradition. Danny recently won the Hasanah Gold Threads award for the category of Best Innovative Embroidery and Embellishment.
According to him, the Gajah Oleng is a traditional garment from the Sarawak Malay community, used by brides during ceremonies such as bersanding, berlulut, or malam berinai, depending on their preferences. In the past, this ornamental attire was widely worn in Kuching, Kota Samarahan, Sri Aman, and other parts of Sarawak.
“The Gajah Oleng is also known as Jah Olen, Rajah Olen, and Raja Olen. The term Gajah Oleng is likely derived from the Javanese word ‘Gajahan’, which means crown or head jewellery. Oleng probably comes from the word ‘teroleng-oleng’, which means something that sways, moves, or vibrates,” said the tukang hias of two decades.
He explained that the combination of words refers to the glittering golden headpiece on the bride’s head that sways or moves like an elephant’s ears.
“There is no doubt that there is an element of Javanese influence in this traditional wear, especially in its patterns and styles — and potentially Chinese influence too, when referring to the Phoenix-shaped coronets believed to have been worn by aristocrats during the Han Dynasty (circa 206 BC-220 AD).”
To date, only a few Gajah Oleng pieces are in possession, and the majority of them are family heirlooms. The designs may vary, though the elements are similar or the same. According to the tukang hias, the essential components of a Gajah Oleng are the kepih dahi, the mahkota (crown), and the kepih sanggul — all of which are gold-plated silver. For more affluent owners or tukang hias, these accessories may be made of pure gold.
A testimony from the past
In the book “Sketches of Our Life in Sarawak (1882)” by British missionary Harriette McDougall, who lived during the James Brooke era, she highlighted the presence of Gajah Oleng within the Malay community. Having attended the wedding ceremony of Datu Temenggong’s grandson, Matussin, and Nakhoda Sadum’s daughter, she wrote:
“I looked about the bride and saw a crowd of women in one corner, and a boy holding a gilt umbrella over the younger lady, who was being shaved … The girl was washed, then her magnificent black hair, which reached down to her heels, was knotted in two great bows on either side of her head. Over these, gold ornaments like wings were fixed, and a little tower of gold bells was above them. Then the woman painted a black band around her forehead and added a silver edge to it, also painting.”
With McDougall’s detailed description, it is clear that the Gajah Oleng existed in the community more than 140 years ago.
The main components of a Gajah Oleng
A symbolic attire, the Gajah Oleng is a timeless charm.
“Bear in mind that the entire set of accessories can easily weigh up to 3 kilogrammes. Despite being heavy, challenging, and time-consuming, these stunning accessories undoubtedly add a special touch of elegance to the bride.”
Sharing details about the main components of the attire, Danny said the following:
- The perhiasan kepala, or headpiece, includes elaborate coronet-like decorations for the head, also known as the mahkota or maskuta (a three-layer crown), kepih dahi (an accessory or diadem for the forehead), sisir (comb), kepih sanggul, and bunga tajuk.
- The blouse is usually made from red or black velvet, lace, or brocade materials and is decorated with elaborate metal pieces featuring a variety of distinctive flora and fauna motifs.
- The tapeh, or golden songket (sarong), used by the bride is one of three distinctive Kain Songket Melayu Sarawak types: Kain Berunei (spotted or scattered pattern), Kain Belatak (full pattern), or Kain Berturus (striped pattern).
- The tudung keringkam, an exquisite traditional headscarf worn by Malay ladies and woven with intricate designs using gold or silver threads, adds extra sparkle to the ensemble when draped over the bride’s shoulders.
- Other jewellery or additional ornaments include: lolek (a pair of diamond earrings); gelang aluk (gold-plated bangles) to be worn on both wrists; ikat kain (a gold or silver belt) used to tie the tapeh songket around the bride’s waist, featuring a large buckle known as the pending; and a pair of geronchong kaki (anklets, usually silver or gold-plated) for the bride’s feet.
“In addition, the Gajah Oleng also involves another key element: the use of Sanggul Lipat Pandan. This specially made hair grip, crafted from pandan leaves, is used to create an upright bun that acts as a frame for the head accessories. The pandan leaves also impart a fragrant scent to the bride’s hair,” he added.
With that said, the Gajah Oleng is more than just ornamental bridal attire; it represents the resilience of tradition and cultural heritage within the Sarawak Malay community. As modern-day artisans like Danny take on the responsibility of safeguarding this heritage, the continuation of the Gajah Oleng underscores the broader importance of cultural preservation.
