Tribal art and the people of Borneo

The exotic island of Borneo is rich with abundant tropical rain forests and home to many indigenous tribes with diverse cultures and traditions. Man first occupied this land some 40,000 years ago by living in the great Niah Caves in the region now called Sarawak. Later they built shelters in the dense tropical jungle, which evolved into longhouses. As late as the mid 1800’s, inter-tribal wars and clashes were part of the locals’ survival instinct, and head hunting was a spiritual excursion. Evidence of those perilous days are still present today as trophies of the not so distant past - soot covered skulls can still be found hanging along side the parangs, blow pipes, and spears, frozen in time, sharing space in the gallery of the longhouses.

There are still more than 25 ethnic communities that live in this vast tropical paradise. The largest of these communities is the Iban, or Sea Dayak because they live in longhouses along the waterways and main rivers of Borneo. Their traditional religion is animistic and embraces a spirit world of mystical deities and legendary heroes. The Iban are skilled makers of the longboat and are famous for their wrap-ikat weave called “Pua Kumbu”, a spiritual cloth closely associated with their mystical old religion and the past practices of head hunting.

The second largest community is the Bidayuh, or Land Dayak because they live inland on the fertile grounds of the highlands. There are several sub-groups identified as the Bukar/Sadong, Biatah, Singgai, Jagoi, Lara, and Selakau who all speak different but related dialects. A significant identification of this community is in their costume. They are predominantly black and red in color. Although their original belief is animistic, the Bidayuh were among the first to be converted by Protestant missionaries in the 1850s.

Further into the interior upland of the island of Borneo resides the Orang Ulu. This name refers to a collective group of indigenous communities made up of the Kayan, Kenyah, Kelabit, Lun Bawang, Bisaya, Kejaman, Sekapan, Lahanan, Sihan, Ukit, and Penan. Fair in complexion, and stocky in build, most of them are well adapted at carrying heavy loads since wet, or padi, cultivation is their primary activity in this mountainous terrain. Also known as the “long earlobe” people, the Kayan and Kenyah women have their earlobes extended by wearing heavy brass earrings and are finely tattooed on their forearms and legs. The Orang Ulu are known for their musical ability, and because of this are generally considered as gentle people who’s cultural includes graceful dance performances with the aid of a musical instrument called the Sape.

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Many of these tribal communities continue to live in longhouses, which are also used as community centers and meeting areas. A traditional Iban longhouse is always oriented to face north/south, built on high ground along the riverbank, the entrance is either at the eastern or western end. The Bidayuh longhouse is traditionally built using stilts made from round tree- trunks. Raised at least 9 feet off the ground, the floor of the gallery and the open platform is made of bamboo trunks, which have been split in half. The double layer palm trunks flooring is impenetrable to spears while allowing for ventilation. Palm thatch is use to cover the roof and end walls. A flap is made in the roof and kept open and closed using a rattan rope pulley system to regulate ventilation and daylight.

All of Borneo's tribes are adept in the creation of tribal or native art for functional, ceremonial, and spiritual purposes. Tribal art describes the creative expressions of the various indigenous community artisans, craftsmen and master carvers, and their utilization of all available local materials such as wood, rattan, bamboo, and natural fibers. Usually humble and rustic in construction, tribal art radiates a special kind of innate time-tested beauty.

Much of the tribal art from Borneo comes in the form of carved Belian Ironwood, a famously strong and durable native wood. Ironwood is used in the creation of household items such as doors and windows as well as ritual masks and guardian figures. Carved doors and windows are used as signs of status and to repel malevolent spirits. They are usually found in the doorways of the aristocratic families of the Kayan, and Kenyah who also produce Hudok masks. These masks are used in rituals associated with rice planting, healing ceremonies, and celebration festivals.

Ironwood is also used to create perhaps the most unique ceremonial object, the elaborately carved effigies of the Kenyalang hornbill. The hornbill is a symbolic representation of the Iban God of War. These hornbill effigies were used in festivals invoking the blessings upon warriors during the ancient head hunting days. Today they are used to commemorate the Iban heroes in the military.

Another well recognized form of Borneo's tribal art is the Bidayuh Guardian Figure. Life size ancestral figures and guardian statues were carved in human likeness and often found at junctions leading to villages and longhouses. They serve as protectors from evil spirits. Exposed to the harsh tropical weather even the sturdy Belian Ironwood shows signs of wear and tear, and when combined with algae growth, these figures exude an aura of mystical charm.

The art of Tattooing is another highly developed craft, particularly among the Kenyah women of aristocratic status. These women have finely tattooed designs on their arms, fingers, feet, and thighs. In the Iban culture, men have tattoos on their arms, legs, and torso, and for those who have earned recognition for bravery will also have a design on their throat. The tattoo kits used by the Orang Ulu are very rare and hard to acquire items.

The tribes of Borneo, their people, customs, rituals and art are under constant pressure from outside influences. As the modern world continues to expand, more and more of these indigenous tribes are integrated into to the main stream either through marriage or new found spiritualism. Unfortunately, as these tribes are introduced to the contemporary world they are abandoning some, if not all, of their heritage and culture. Today, careful planning by the governments of Malaysia, Indonesia, and Brunei, has been successful in integrating these tribes into their respective population, while championing their preservation and showcasing the uniqueness and authenticity of their culture.

Pictures courtesy of Sarawak Tourism Board