As an artisan, Nabilah Abdullah believes that local ceramics could go a long way if they are properly developed. At the same time, she advocates for the originality of ceramics, as she does not want its cultural elements and historical heritage to become obsolete.
Preserving culture and heritage through ceramics
There is a bright future for the clay industry as Sarawak looks into developing the commodity into something other than heritage conservation and preservation, opined artisan Nabilah Abdullah. “By teaching young people the art of ceramic and providing the students with ample facilities, they will learn to develop the material into a more advanced product for development.”
In saying this, Nabilah foresees various job opportunities in the sector and the usage of clay will not be limited to handicrafts only. “We will be on par with other developing countries. Our locally made clay can be utilised to assist modernity in different ways. For example, with engineered ceramics, we can manufacture them as components for water filters.”
Having dabbled with clay for more than a decade, Nabilah’s first unintentional endeavour into the industry was from a field trip to Sirim. “I did not know anything about ceramic. But when I visited Sirim, I saw that they had classes on how to make ceramic.”
Nabilah then decided to partake in a two-year course under Sirim. “It was called Ceramic Industrial Development Programme (CIDP). I joined and didn’t expect much. I just wanted to try something different, so I kept continuing.”
After two years, the 55-year-old established her company, Heritage Clay Crafts, with the intention to promote Sarawak through ceramic handicrafts. “I moved my workspace from Sirim to Kraftangan Malaysia Sarawak. Here, I learned the arts side of ceramic, while at Sirim, I learned the industrial knowledge of it.”
As clay is not a popular material for producing handicrafts, Nabilah laments the lack of Sarawak ceramic products as opposed to imported ones in the market. Thankfully, the market for local clay products is gradually becoming prominent, said Nabilah.
“It is good that we can see many factories producing potteries with Sarawakian elements here. I am doing the same too. I am trying to translate Sarawak’s identity, to absorb these elements and make them into our very own Sarawak handicraft,” she added.
In wanting to increase her knowledge regarding clay as a handicraft, Nabilah participated in a ‘traditional pottery making’ session with an expert from Nanga Sumpa, Lubok Antu. “Pak Andah taught me how to make pottery using the traditional Iban method many years back.”
With the knowledge learned during her course in Sirim and training session with Pak Andah, Nabilah developed her own way of producing ceramic. As the traditional method uses beating to mould the shape of the pots, she incorporates the technique alongside the modern way of drying.
“After moulding via the traditional way, I use a kiln to heat the material until mature. Then I will continue to burn the body using the traditional method to get the desired effect,” shared Nabilah.
Although she is trained in the modern method of production, Nabilah said it is still important to know the traditional way as well. “Hence, I merged both techniques of producing.”
Asked how many pots she can produce in a day, Nabilah said she can do only five pots at max. “Since I am using the beating technique to mould, I cannot do many as I want to ensure the quality of each pot. I have to make sure the thickness is identical, if not similar,” she disclosed.
Beads made of clay
Apart from her pottery work, she is also known for her handiwork in making clay beads and accessories. Last year, her work was showcased in the international fashion arena at the Aspara Fashion Week, alongside other renowned fashion designers. Combining elegance with the element of Sarawak, they also become tourists’ favourites whenever they visit her shop at the Waterfront, Kuching.
Her work in accessories, however, was accidental. “It all started a decade ago when I had leftover clay from pottery making. So I decided to make clay beads out of it to produce a necklace. It was all for fun. Then I brought it along to exhibitions and I saw that many liked them.”
Emphasising clay beads as a potential local handicraft material, Nabilah said usually, normal glass beads were imported.“But with clay beads, the material is done locally and so does its finished work. Rather than importing, we can make something that resembles glass beads and it is solely our product!”
Born and raised in Sarawak, Nabilah emphasised the importance of upholding the local culture despite moving towards modernity. “This is to identify yourself as a Sarawakian and people see you as one. We have to know our roots for it to not go obsolete.”
Therefore, Nabilah believed that children must be taught about their culture from a young age.
Nabilah hoped that through her work with potteries and accessories, Sarawak would be able to preserve its arts, culture, and heritage for future generations.
