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ORANG ULU BASKETRY: DESIGN AND MATERIAL ADAPTATIONS
Faridah Sahari
Institut Pengajian Asia Timur
94300 Universiti Malaysia Sarawak
sfaridah@faca.unimas.my
Abstract
Orang Ulu knowledge and skills in manufacturing objects they use daily and for rituals are
firmly rooted in society since the time of their ancestors. Basketry, the focus of this paper is a
component of Orang Ulu’s material culture that has a highly developed knowledge and skill
base. The fast changing physical and socio-economic environments of the Orang Ulu of Belaga
in the past 40 years have been accompanied by raw material depletion and new modes of
livelihood and lifestyle. These changes have affected the production of Orang Ulu material
culture particularly in the basket production. This paper discusses the use of new materials and
designs in the manufacture of Orang Ulu basketry assemblages and the implications of these
adaptations to traditional basketry and its future.
Keywords: basketry, material, design, material culture, Orang Ulu
Introduction –Orang Ulu Traditional Basketry
Belaga is home to many ethnic groups of Orang Ulu namely Kayan, Kenyah, Bhukat and Penan.
To many, Orang Ulu baskets may look alike but there is slight variation in forms, styles, patterns,
motifs and techniques that easily distinguish the different culture background of the maker.
Orang Ulu weave variation of baskets and mats that serves important functions in their life; day
to day activities such as farming and jungle produce gathering to ceremonial and ritual events.
The creations of their traditional basketry are the manifestation of their wealth culture,
technology and intellectual through the complex pattern and motifs, materials and manufacturing
methods used by them.
In the past, Orang Ulu baskets were made of plant materials, consistent with basket definition by
Ellen (2009) as a container created by weaving semi-rigid vegetable fibres. For centuries, Orang
Ulu has fully utilized and relied on the abundant of natural plant materials within the
environment which includes a vast selection of wei (rattan), bulok (bamboo), lemetung (donax),
tepo’(hornstedtia scyphifera), da’a (pandanus) and sang (palm leaves) to make basketry (Chin,
1985, Brosius, 1986). Rattan is the most common materials used in their basketry making due its
robust property and rich sources in the region. Different styles and weaving techniques may used
by different ethnic groups of Orang Ulu, but the artefact almost applied in similar manner.
Baskets are used as utilitarian object in agriculture, domestic and for personal use; for holding
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objects, storing and transporting loads. A chart of Figure 1 shows various steps of how a basket
can have various styles, dimension and made in different materials and methods. A general
distinction of a basket’s design and characteristics are determined by its function and purpose as
well as under which conditions the basket is expected to function, although factors like cultural
practices, individual preferences and belief of the maker do contribute to this distinction too.
Figure 1 Basketry Making Chart
Carrying & transporting
Winnowing
Sieving
Drying
Fishing
Hunting
Animal husbandry
Seating Mat- in gallery/room
Sago processing
Storing basket
Seating in gallery/private room
Travelling
Personal bag
Baby carrier
Container
Document/Utensil holder
All purposes
Sleeping mat
Seating mat
Ritual & Ceremonial
Common Uses
Agricultural, Hunting and
General Use
Domestic and Personal Use
Special Uses
Guide to
Determine
Options:
Preference
Knowledge & Skill
Necessity &
Requirement
Big, bulky, flexible, rough, small, soft, decorated,
Poles/Straps/Lids
Rings/Loops
Secondary base
Motif & Pattern
Embellishments
Attributes & Characteristics of A Basket
Types of material
Weave technique/pattern
8 loop/hexagonal/twill
1 strand rattan/Fine strip
rattan
Adding strip/strand
Loosely woven/Closely woven
Material & Manufacturing
Added Elements
To The Basket
High strength, rigid, stable, wear resistance,take-up dye, water proof,
lightweight,take-up heavy, bulky and numerous loads, comfort,
aesthetic, ritual/spiritual value, easily handle
Influence
Properties Requirement for the Purpose
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As for the case of ingen, this basket is used to load and transporting harvested paddy. To perform
the task well, the basket is expected to have certain qualities. First, the basket should be high in
strength and rigid to bear high loads so rattan is a choice of material. By adding poles/legs to the
basket, its body structure is strengthen and stabled particularly when it in full capacity. Secondly,
the basket should capable to contain maximum capacity at one time, thus its dimension tends to
be big. Wide open mouth accommodates filling up process of harvested paddy into the basket.
Thirdly, the basket is used to contain small paddy grains, thus the twill interlacing weaving
technique is appropriate to obtain closely woven pattern.
Figure 2 Elements of A Basket
Type of basket
Ingen (Harvesting Basket)
Purpose of Basket
To load and carry harvested paddy
To transport paddy to the barn
Properties Requirements
High strength, rigid, big capacity, lightweight, to hold small grains
Attribute & Characteristic
Big, wide mouth, cylindrical, square base,
closework weaving
Material & Manufacturing Option
Body weave and rim –wei letikan
Pole –wei seringan
Weaving technique –interlacing twill pattern/ closely woven
Elements of Basket
In basic, basket is divided into two main elements, the rim and the body weave (Blehaut,1994). Other
supplementary elements are added to the basic elements to obtain specific purposes such as strength enhancement,
stability, aesthetic or ritual manifestation.
Ingen in use
Parts attached/incorporate to the main
elements
Specific objective for the addition
Poles –rattan/wood attached at the four
corners of the basket.
For stability and strengthen the basket
structure particularly while containing
heavy loads.
Shoulder strap –weaved rattan attached
to the basket
To carry the basket on the shoulders
Secondary base –square frame of woven
rattan
To strengthen the basket base.
Sa’ap (lid) –optional part
This part is important when ingen is to be
used for storage
Supplementary elements
Main elements
Taket - pole
Sa’at - Rim
Osa - Body
weave
Tempan –
secondary
base
Ay -Shoulder
strap
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In contrast, other agriculture baskets including tapan, and eleng are also rigid but they are
smaller in size. For most of them are hand handling objects, smaller size means less weight,
provide better control and easily manageable. For carrier baskets such as keba’ and kaleng,
strength and size are not the only important criteria for these types of baskets. As their main
purpose is to take up for bulky and heavy loads like water vessels and fire wood, flexibility and
expandability of the baskets are the other main criteria for them to take maximum capacity at one
time. On the other hand, serut and belanyat are personal use baskets to keep self-belonging
items when travelling, which is usually small for handy carrier basket.
Common list of Orang Ulu traditional basketry
Basket types
according to use
Orang Ulu terminology
Description
Carrying & transporting
ingen/teguyang
Rectangular base cylindrical basket with wide circular
mouth
keluhang/gai/belatak
Carrying basket
keba’/kaleng
Carrying basket
Personal bag
serut, ajat
Finely woven personal bag
blanyat
Loosely woven cylindrical basket
Food storage
kedan, hocong, garong
Bottle shaped rice container
rejet, bumput
Cylindrical basket
Container
buhan, kiran, kadek
Variety shapes and material sireh and tobacco
container
Document/Utensil
holder
itung
One-handled cylindrical shape receptacle
telok
Cylindrical shape with lid
Fishing
lanyung, buvok
Fish trap
siak/penari/jarong
Fish basket
Hunting
terutung
Small hunted animal carrier
duvok
Large game carrier
Winnowing
tapan
Shallow- sided rectangular basket
All purpose
keratang/kelatang
All purpose openwork baskets
bakun, ragak
Deep-sided basket
krien/taiyo
Cylindrical with rectangular mouth
sa’ap
Shallow- sided rectangular basket
barang
Rimless, deep-sided basket
Ritual/ceremonial use
ingen lalii
Sacred basket
berat lalii
Sacred mat
tapung ucuk/tapung ujap
Headgear
Sieving
eleng, ilik
Circular shape with openwork base
bayut
Rectangular shape with openwork base
Drying
dayah
Flat tray
Animal husbandry
buaneyap/buankiking
Openweave with lid
Baby carrier
ba’
half cylindrical, ritual/symbolism
Sago processing
selauk
Scoop cum sieve
jekan
Deep-sided, soft basket
Figure 3 Variations of Orang Ulu traditional basketry
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Figure 5 Berat lalii’
and pusa
Special Basketry
Orang Ulu also make basketry for ritual and ceremony purposes. Ingen lalii and berat lalii are
only occupied by a dayong, a shaman or priest among Orang Ulu communities who heads most
ritual events.
Figure 4 Ingen lalii and tapung
Ingen lalii’is a small rattan basket, the resemblance of ingen also made in
similar manner with that harvesting basket. It is used only by the dayong
bungan (shaman) as part of ritual paraphernalia in various ritual purposes
such as in treating ill people from bad spirit and meledoh festival. It also used
to initiate harvesting by cutting and putting half-riped paddy (emping) into
the ingen lalii’ to symbolize that the harvesting season is now begin.
Tapung ucuk is a male hat made of da’a (pandanus) while tapung ujap is a
headgear worn by women is made of rattan is cultural costumes wear during
ceremonial such as wedding and harvesting festival.
Berat lalii’ is a small mat of rattan or sedge (purun) used for ritual and
ceremonial events such as food offerings and children’s naming ceremony.
In Kayan, a child will receive a name after the third year of his or her life
(Hose & McDougall, 1912). In this naming ceremony, the mat is used
together with pusa
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carved in Laki Pesong figure, a god who taking care for
the welfare of the children.
Ba’, the famous Kenyah baby carrier is not truly utilitarian but most
importantly is it also represents stratification system of its people in the
community. From the adornment to motifs used to elaborately embellished
the ba’, the combination of these elements symbolize wealth and social rank
of both baby and the maker (Whittier, 1973, Whittier & Whittier, 1989).
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an object use to make fire
Figure 6 Ba’
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New Basketry Styles
These days, various forms and patterns have been seen in Orang Ulu basketry assemblage. There
are three forms of innovation observed in the Orang Ulu basketry: a) combination of materials
used (natural and synthetic/synthetic and synthetic), b) introduction of new materials (synthetic
or recycle objects) and c) new designs and motifs. Changes made in the materials then led to
change of tools, methods and design used in the weaving. Next are some examples of Orang Ulu
traditional artefacts that have gone through the alteration and new basket styles.
Figure 7 Innovation in New Basket Styles
Traditional Baskets Reproduction
Recent trend has shown that some traditional baskets of Orang Ulu like barang and ingen are
made in miniature form. The material and weaving techniques are remained the same as the
traditional baskets production. These utilitarian baskets are now becoming crafts objects. High
demand for these baskets as souvenir items from homestay industry in Sg. Asap has encouraged
the Bhukat to produce these baskets as part of their sources of income. As the baskets changed
from utilitarian objects to crafts, aesthetic value is added by using colours to create simple
pattern and motif in the basket, which is not a common practice in the traditional barang and
ingen manufacturing.
Figure 8 Miniature form of Barang and Ingen
New Basket
Styles
Method
Material
Design
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New Basketry Styles
These days, various forms and patterns have been seen in Orang Ulu basketry assemblage. There
are three forms of innovation observed in the Orang Ulu basketry: a) combination of materials
used (natural and synthetic/synthetic and synthetic), b) introduction of new materials (synthetic
or recycle objects) and c) new designs and motifs. Changes made in the materials then led to
change of tools, methods and design used in the weaving. Next are some examples of Orang Ulu
traditional artefacts that have gone through the alteration and new basket styles.
Figure 7 Innovation in New Basket Styles
Traditional Baskets Reproduction
Recent trend has shown that some traditional baskets of Orang Ulu like barang and ingen are
made in miniature form. The material and weaving techniques are remained the same as the
traditional baskets production. These utilitarian baskets are now becoming crafts objects. High
demand for these baskets as souvenir items from homestay industry in Sg. Asap has encouraged
the Bhukat to produce these baskets as part of their sources of income. As the baskets changed
from utilitarian objects to crafts, aesthetic value is added by using colours to create simple
pattern and motif in the basket, which is not a common practice in the traditional barang and
ingen manufacturing.
Figure 8 Miniature form of Barang and Ingen
New Basket
Styles
Method
Material
Design
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New Basketry Styles
These days, various forms and patterns have been seen in Orang Ulu basketry assemblage. There
are three forms of innovation observed in the Orang Ulu basketry: a) combination of materials
used (natural and synthetic/synthetic and synthetic), b) introduction of new materials (synthetic
or recycle objects) and c) new designs and motifs. Changes made in the materials then led to
change of tools, methods and design used in the weaving. Next are some examples of Orang Ulu
traditional artefacts that have gone through the alteration and new basket styles.
Figure 7 Innovation in New Basket Styles
Traditional Baskets Reproduction
Recent trend has shown that some traditional baskets of Orang Ulu like barang and ingen are
made in miniature form. The material and weaving techniques are remained the same as the
traditional baskets production. These utilitarian baskets are now becoming crafts objects. High
demand for these baskets as souvenir items from homestay industry in Sg. Asap has encouraged
the Bhukat to produce these baskets as part of their sources of income. As the baskets changed
from utilitarian objects to crafts, aesthetic value is added by using colours to create simple
pattern and motif in the basket, which is not a common practice in the traditional barang and
ingen manufacturing.
Figure 8 Miniature form of Barang and Ingen
New Basket
Styles
Method
Material
Design
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Today, synthetic materials have been a common use in the reproduction of the traditional baskets
among the Orang Ulu communities. The noble use of synthetic materials is caused by the
scarcity of traditional materials which resulted from the environmental change (Sentence, 2001).
In addition, use of synthetic materials in baskets production as alternative to rattan and other
traditional materials is a global trend (Asanti, 2009) and it is not confine only to Orang Ulu
alone. On the other hand, the neophyte weavers in particular, prefer this alternative material
because of their lack knowledge or skill in traditional material preparation. Preparing plant
material like rattan demands expertise from collecting, splitting to dyeing process, which not
many are capable to carry out the task well.
For some baskets which require sturdiness like ingen and bakun, rattan is still retained in the
structure particularly for parts like the rim and poles to strengthen the body structure and support
load of content. Otherwise, rimless basket like krien,barang and blanyat can just be made using
one type of synthetic material for the whole form.
Figure 9 Traditional Reproduction in Synthetic: (a) ingen (b) bakun (c) krien (d) barang and (e) blanyat
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When pepper was introduced as one of the important cash crops in Belaga between 1960s to
1970s (Rousseau, 1990). Since then, Orang Ulu has modified eleng, by enlarging the weave
spacing, enough for the pepper corn to fall through it and left the separated spikes in the tray.
The modification made to the existed utilitarian object in order to fulfil present need shows their
adaptation to their new subsistence activities. The most recent pepper eleng does not require
weaving at all, except for rattan frame lashing work to secure the edge of cut Polyethylene (PE)
plastic mesh. With wider sieving area, more pepper can be sieved at one time.
Figure 10 a) paddy sieve b) rattan pepper sieve and c) plastic mesh pepper sieve
New Designs
Synthetic materials are also used creatively by Orang Ulu to create completely new basketry
design. Although this new trend is still developing slowly but it has encouraged neophyte
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weavers to take part in the basketry making activities.
Figure 11 New sa’ap design and tools
In some baskets, synthetic materials are combined with traditional materials, while others mixed
different types of synthetic materials to make one basket. Making methods, tools and designs are
2
Most of this weaver category has limited knowledge and skill in traditional basketry weaving.
jagged corner
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likely to be determined by the properties and characteristics of materials used. As for the case of
new sa’ap
3
style, it is made of two different types of synthetic materials; Polyethylene
Terephthalate
4
(PET) strips for body weave and rim and Polypropylene (PP) strips for rim
lashing. Because of the properties of PET strips used in this weaving is rigid, scallop corner is
not possible. Thus, the corners have to be made jagged (refer to Figure 11). To make the jagged
corners look neat, hammer and pliers are the necessary tools. Additionally, due to the strip broad
width and smooth surface, close weave is less obtainable and only single weave (1/1) pattern is
appropriate for the work.
Most recently, Orang Ulu have incorporated recycle materials in their creations. Lorry’s or car’s
oil filter resemble weave pattern and a touch of rattan rim and handle has made it a genius
combination for a new basket style. This is not only encouraging people to use recycle or waste
objects but to also nurture innovation among them. As for the sunhat, covering it with plastic
packaging will protect natural material (sang leaves) used, enhance weatherproof properties, thus
prolong its life.
Figure 12 Basket made of recycle oil filter and detergent packaging sunhat
Some of these baskets are made with different weaving techniques, influence from other ethnic
group like Iban, Bidayuh and Malay while others creatively combine materials and techniques to
come out with a new design. Most of the new basket designs made of synthetic materials are
simplified in terms of weaving techniques. Plain weave
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is the common technique used in
manufacturing new basket design. No obvious pattern or motif is integrated in the basket.
3
Traditionally, sa’ap was used as a paddy or rice basket
4
Heavyduty PET strip is widely used to fasten processed timber in Belaga.
5
Simplest technique of weaving
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Use of multi vivid colours of the synthetic materials creates patterns by themselves. This is the
method used to add aesthetic value in most of the new basketry designs. For some patterns,
folding method is used to create three dimensional effects to the basket design (Figure 13 a and
d). These patterns are believed to be influenced from the anyam lanyek of the Malay’s weaving
technique. Combination of materials like synthetic beads and rattan (Figure 13b) also create a
new appealing style to basketry.
Using the inner part of the rattan is not a common practice in the Orang Ulu basketry making but
now this material is used by them to make tray style basket using vertical interlacing technique
which is used only by the Bidayuh before (Figure 13 c). This is one way for them to utilize waste
material from mat and other types of traditional basket production which consequentially
encourage people to utilize scarce resources to its full potential.
Figure 13 Orang Ulu various new basket designs
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Basketweavers
In those days, Orang Ulu women and young girls spent most of their pastime in making baskets
and mats. Weaving knowledge and skills in raw materials diverse variations, materials
preparation, weaving techniques, patterns and motifs were learned at a very young age and
practiced throughout their adulthood. At the early stage of the learning, young girls were taught
and guided by their mother, aunties or sisters throughout the whole basketry making process.
Orang Ulu believed, ones were considered as a proficient basketweaver whenever she manages
to collect and prepare materials, perform dyeing process, weave different patterns, produce
complex motifs by themselves and capable to teach others.
Table 1 Basketweavers Competency in Present Days
Competency
Expert/Specialized
Mediocre
Neophyte
Craft Maker
Characteristics
These makers are likely to be:
Age: 55+ years old
Involvement: more than 40
years of experience
These makers are likely to be:
Age: 40+ years old
Involvement: more than 10
years of experience
These makers are likely to be:
Age: 30+ years old
Involvement: less than 5 years of
experience
Skills &
Knowledge
Material Use
Natural and Synthetic
Natural and Synthetic
Synthetic
Material
Preparation
Collection of raw materials
Perform process
Know and have seen the
process but never practiced
Have seen the process but never
practiced
Dyeing Process
Perform process
Ability to create colours
Know and have seen the
process but never practiced
Have seen the process but never
practiced
Weaving
Techniques
Basic -complex
Basic
Create new pattern
Basic
Motif & Design
Traditional (Basic –complex)
Create new pattern
Acquainted with traditional term,
meaning and value
Traditional (Basic)
Emulate pattern
Unversed with traditional
meaning and value
Basic pattern
Product Variation
All range of utilitarian objects and
crafts
Limited utilitarian objects and
crafts
Specific utilitarian objects and crafts
Attitude &
Motivation
Integrate traditional skill and
knowledge in reproduction –
natural/synthetic/bead
Have self initiative to teach
children, replicate deceased objects.
Integrate basic traditional skill
and knowledge in reproduction
–synthetic/bead.
Self initiative –learn to make
craft of other Orang Ulu ethnic
groups.
Create range of new objects.
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However, significant changes that have occurred in the last three decades in Belaga have
impacted basketry making among the Orang Ulu. Material scarcity like rattan has been the
biggest challenge for the basketweavers to continue the traditional baskets and mats production
as they once did in the past. Furthermore, urban lifestyle also changed their demand for materials
which the traditional objects may no longer suit modern life setting.
Despite all the circumstances, Orang Ulu still makes baskets. In cases of 15 Orang Ulu
communities inhabited the Sg. Asap resettlement in Belaga, Kenyah Badeng, Bhukat and Penan
still make basketry products. They have adapted the changing by innovating in traditional
baskets reproduction by introducing new basket styles, utilizing synthetic materials, using
recycle products and combining materials and methods in their new creations.
The basket making continues but the groups involved are different. There are three main
categories of basketweaver groups identified in Sg. Asap as shown in Table 1. The first group is
among the elder women (55 years old and above) have become the custodians of tradition,
producing traditional styles with rattan and other traditional materials or with synthetic materials.
This group is the main reference to those contemporary and neophyte weavers.
Contemporary and neophyte basketweavers are among the women aged between 30s to 40s
years. They are mostly housewife, unemployed and farmers. Their traditional skill and
knowledge may be limited, but they have taking advantage of new materials available in the
market to create various new styles given bigger prospect to the Orang Ulu basketry aking
tradition to sustain longer. Lack participation of the younger women, aged below 30 years old
perhaps caused by schooling, wage employment and other social activities engagement which
demand most of their time outside the house that hindered them to be involved in the basket
making activity.
Conclusion
Scarcity of raw material and urban lifestyle due to rapid development in Belaga region never
stopped Orang Ulu to continue their tradition; basketry weaving. Today, they have proven that
they adapting well to the fast changing of physical and socio-economic environments in the past
40 years through integrating innovation in basketry making resulted in diversification of new
styles and designs.
The original forms and functions of the traditional baskets may not last forever, but so far, the
Orang Ulu basketweavers have chosen to play their own role in preserving the knowledge and
skill of basketry weaving either by incorporating new materials, methods, and tools to reproduce
traditional basketry or simply introducing new styles and designs to better suit their
contemporary cultural context.
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