For artisans under the culture concept stall Gerai Sulu Nuan, these four ladies hope to address the issue of disappearing practises from their respective cultures through the products they release.
Indigenous beauties bring back cultural traditions
It is common for Sarawak native elderly women to wear a sarong as a household dress or when going out.
Over time, the sarong’s use was restricted to within the confines of their homes.
The tradition of donning a sarong is currently slowly dying out as modernisation, current fashion trends, and new social norms take hold.
Recognising the importance of what is quickly becoming an obsolete practise, the culture concept stall Gerai Sulu Nuan, comprised of four sulu, hopes to keep the tradition alive as much as possible.
In the Iban language, sulu is a term of endearment. When the lasses are manning their booth at various art markets, they use it to refer to one another.
“Sulu is a very affectionate term. As much as I enjoy hearing people call me sulu or Sulu #2, I also know that one day a hot guy or the love of my life will stop by Gerai Sulu Nuan and call me sulu,” said Sulu #2, Steff.
The four ladies, dressed in sarong at each event, aimed to reintroduce an almost forgotten culture into society.
“We realised that the generation before us struggled to strike a balance between preserving traditions and adapting to modern lifestyles.
“Although there aren’t many olden Dayak lifestyles that our generation can salvage, romanticising and normalising walking around in a tapeh (sarong in Iban) is something we see as doable. So, we’re hoping to bring it back.”
The four sulu would wear tapeh and berandau (socialise in the Iban language) with passers-by at every Gerai Sulu Nuan booth, just as the Dayak do in the longhouse.
Since one of the sulu sells tuak (rice wine), they would nyadung tester tuak (serve tuak tester) for fun.
“We intended to create an experience for visitors to the art markets, in which we participate, to enjoy alongside us, just as they do in the longhouse.”
The sulu had gone barefooted in their recent event, Seni Kita, organised by HAUS KCH, as they pretended the hallway of the Old Courthouse, Kuching is the longhouse’s communal site that was shared by other artisans.
Meet the sulu(s)
In the Iban language, the phrase Gerai Sulu Nuan has two meanings. One is “your lover’s shop,” and another is “is your lover doing well?” The name and concept came from a playful session among the four.
To their dear friends and those they are close to in the community, they are Allie, Steff, Jasmine and Pici.
To their new friends, Sulu #1 is the little feisty one in green, Sulu #2 is the energetic retro one in red, Sulu #3 is the gothic shaman one in purple, and Sulu #4 is the elegant wine-sipping one in blue.
Sulu #1
Allie Jabing is her name, and she sells batik tote bags, pouches, and tops.
Allie, a fashion graduate, enjoys batik and would experiment with making it into wearable items.
“I started with batik tote bags with multiple pockets on the inside because I needed a bag that could hold everything I needed without losing them.”
Although her items are not specific to the culture she grew up in, she grew up among ladies who wore batik sarongs in the longhouse and at home.
“I’m reminded of that memory every time I look at the things I make.”
Culture is important to her because it reminds her of where she came from.
“Time is constantly changing. However, this does not imply that culture and heritage should be neglected. I believe it is our responsibility to carry a piece of our culture with us wherever we go.”
Allie also said that she would speak Iban to her peers and when greeting customers at their booth.
“Maintaining my cultural roots is also why I chose to wear a batik sarong with family heirlooms to our modern-day art markets.”
Sulu #2
Steff Fleur, the oldest member of the group, sells wearable jewellery alongside Sulu #3 under the brand name Sloppycrafts. They both make jewellery with different themes under their brand.
“Jasmine’s Sijuok collection of necklaces and earrings are inspired by her ancestral heirloom. My collections, on the other hand, leaned toward the island-girl look. I enjoy making fun and tropical necklaces and anklets.”
Introducing Sloppycrafts to the community in 2020, Steff repurposed Allie’s leftover Sarawak batik fabric from her tote bag into button earrings.
Her inspiration came from Sabahan model Natalie Prabha, who wore brass bangles made by a Sabahan metalsmith with her everyday outfits.
“I want to be able to wear casual daily outfits with a subtle ethnic element around my neck. My current crafts include small ethnic bells, so I could start shaking my body and creating chants in Iban.”
Her challenge comes from the market’s oversaturation of bead crafters. While it is an excellent way to promote local culture and preserve the art of beaded craft, it took her some time to find her niche in the industry.
“We want to be visible, but we also want our products to have a connection to Borneo. We try not to put too much pressure on ourselves to be too traditional or to stick to the original aesthetics. We allow ourselves to innovate and adapt.”
Sulu #3
Jasmine enjoys creating artworks as a hobby and collaborates with Steff to produce accessories under their brand Sloppycrafts. She first started by learning to bead during the pandemic.
“It was a healing process for me, especially because I enjoy the process of designing and crafting the jewellery. It gives me peace of mind and allows me to experiment with different designs.”
Her designs for beaded crafts such as necklaces, bracelets, earrings, anklets, and others were inspired by her family’s heirloom and tribal motives, myths, and folklore.
Handcrafting the intricate pieces had also brought Jasmine closer to her roots.
This is especially meaningful to her as a Bidayuh because it allowed her to relive memories from her childhood.
“I grew up hearing stories from my kampung and attending cultural gatherings with my family. I no longer participate as much as I used to. I am now working and living in the city causes me to drift away from traditional culture.
“However, becoming a part of the tradition, such as crafting with my friends, brings me closer to my culture. It makes me feel nostalgic. Hence, preserving our cultural roots is important because it is a part of our identity that will be passed down to future generations,” said the 28-year-old.
Sulu #4
Sulu #4 would nyadung tuak (pour some tuak for visitors) from her brand Hello Tuak as they berandau at every art market event.
Pici Pamg, who spoke about her brand, revealed that her ancestors have been making tuak for generations.
“I am the last of my generation to carry on the tradition. Making tuak has become a passion of mine as someone who enjoys drinking.”
Pici sells flavoured tuak under her brand, with roselle being her best seller. The alcoholic beverage always reminds her of the Gawai Dayak harvest festival.
“Even today, I enjoy tuak while celebrating various occasions with friends.”
Hello Tuak recently introduced a sugarcane-flavoured tuak. Pici revealed that it was also a customer favourite.
Starting the business in 2021, she says the most challenging aspect of making tuak is the scarcity of ingredients.
“It is when the ragi supply is temporarily interrupted, or when the roselle plant does not produce enough fruit. In the event of a shortage, I will have to find another ragi maker and roselle farmer to supply my ingredients,” Pici said, adding that this is a good way to support our community’s local farmers.
Important to uphold cultural roots
The sulu(s) proudly uphold their respective traditions through Gerai Sulu Nuan.
Though it is difficult to promote it in the face of modernity, the lasses hope that some, if not all, of the old practises can be revived one day.
They also realised that the local community is gradually becoming westernised, so it is critical to preserve the practise of each root.
“The fact that we are widely accepting and accommodating of western culture despite having some lifestyles that do not match our geographical nature or genes is difficult to shake.
“We’re dressed in thick sleeves for the winter which doesn’t exist in our tropical climate, but wouldn’t it be more appropriate to wear our inek’s tapeh (grandmother’s sarong) and silver in the belt during the hot sunny days in Borneo? We are ‘tanned-skinned and beautiful’ in this tropical Nusantara region, not ‘fair-skinned and beautiful’,” said Steff.
Steff constantly encourages others to uphold their respective roots through her own means.
“The more we realised that our culture is the way it is because of how it accommodated our ancestors, the more we appreciate it today.”
