The Future of Craft – the Young Artisans of National Craft Institute (Institut Kraf Negara), Kuala Lumpur.

 

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In a green, peaceful oasis just a few kilometres from the KL city centre, there was a big secret that hardly anyone from the creative industry knew about – until now. Institut Kraf Negara (IKN), or the National Craft Institute is a campus of 250 students studying six of Malaysia’s crafts under the patronage of Kraftangan Malaysia – textile weaving, batik making, basketry, wood carving, ceramics and jewellery and metalsmithing.

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For 3 years, these students learn craftsmanship and skills that are vital towards preserving our culture and heritage – they are an important part of Malaysia’s future of crafts.

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The founder of Senijari who is also the current Chairwoman of Kraftangan Malaysia visited the IKN campus recently to chair a roundtable discussion amongst a selection of Malaysian’s creative industry professionals from architecture, fashion, film, interior design and branding agency. The British Council facilitated the discussion as part of their Craft Futures program in the region.

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The creative professionals were surprised to find a craft school in Kuala Lumpur with students from all over Malaysia who showed skills and passion in continuing Malaysia’s craft heritage. They were suitably impressed, and excited at this opportunity to create meaningful collaborations with the young, skilled and creative talents of IKN who are like undiscovered gems.

Amongst others, participants such as Fashion designer Melinda Looi, Lina Tan of Red Films, Lillian Tay, the President of the Malaysian Architecture Association, architects and furniture designer duo Farah and Adela of Bikin Studio and William Harald Wong, owner of WHW Associates, a design agency provided critical feedback on how to integrate the IKN students closer to the creative industry in Malaysia. It is now critical to inject fresh innovation and new life in Malaysian crafts and the other creative industries as well as to provide a clearer career path development for our future artisans.

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The students come from IKN come from all over Malaysia, and we were delighted to speak to young women who were defying gender stereotypes in the departments of metalsmithing and wood carving – a very physically challenging area of crafts. We spoke to a ceramic student from Sabah who spoke of her reason for studying the craft of ceramics – simply a keen interest in the craft.

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Students from Sabah and Sarawak were also doing basketry as they learnt the craft from young and also learnt to love the craft. In the batik department, a third year student was producing an intricate “canting halus” piece of batik with dedication, and was beaming with pride when Melinda Looi admired her work and encouraged her to continue creating beautiful pieces of batik.

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It was refreshing to be among students who look at Malaysian crafts as their future. IKN is doing important work, and now will need even more support from the creative industry, the Ministries and policy makers so that their graduates survive and thrive in the global creative industry.

IKN’s convocation is coming up on the 13th of November, and as we are at the threshold of 2020, we see the unique potential of IKN to be one of the premier creative hubs in Kuala Lumpur and Malaysia with our young artisans leading the way. In an exciting development, IKN is planning to open up the campus to the public with their graduate shows and new short courses. The creative industry is already talking about potential collaborations on internships, creative projects and even a reality TV craft & fashion show. The future of craft suddenly looks brighter.

 

 

 

East Coast of Malaysia : The Cultural and Craft Hub

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Malaysians are fortunate that we still live close to our culture, traditions and craft. Our culture has provided us beautiful and useful objects as well as a sense of community and belonging to a distinct and rich culture. The East coast of Malaysia namely the states of Kelantan, Terengganu and Pahang are particularly known for their textile culture. Batik, songket, tenun and telepuk are some of the known textiles that are still made and designed by hand either on the loom or in the case of batik, with the wax resist and dye along with brushing technique.  Other major crafts in the East Coast of Malaysia include wood-carving, silver-smithing, copper and the art of weaving mats from rattan or pandan leaves.

On a trip to the Pesta Kraf Pantai Timur (East Coast Craft Festival) recently, Senijari’s founder and creative director discovered that our artisans remain committed to their craft and that craft culture is alive and well. However, the outside world seems unaware of our heritage, or at least knows little about them. We need to find creative ways to tell our craft and artisan stories better and broadcast them to the wider world so that more know about our wonderful heritage of handicrafts.

One of the highlights of the trip was meeting two artisans who were given the award of “Adiguru 2018”. The Adiguru is an award by Kraftangan Malaysia that recognizes the mastery of craft by master artisans who can also teach their craft. The master artisan who is awarded the Adiguru title receives a cash prize and a monthly stipend for a fixed period of time.

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Pak Non, the Master Wau maker was awarded the Adiguru title in 2018 for creating the unique 5-layer carved motifs for traditional kites based on the Wau Kelantan – most kites are made with only 3 layers of carved motifs on coloured paper. Pak Non, who is passionate about his Wau craft, cites nature, especially the surrounding paddy fields as his inspiration.

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Even though he makes the Wau Kelantan, he actually resides in Kedah and goes for kite flying competitions with his kite creations. He says that the competition for the best traditional kites is based on how the kite looks on the ground and how high the kite can fly – so the Wau is assessed both on its physical beauty on earth as well as its technical prowess in the sky.

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Cik Kalsom, a petite and diminutive mat weaver from Terengganu is passionate about and proud of her masterful skills. She was awarded the Adiguru title in 2018 for her mastery of weaving mats and other products using the intricate and complex “kelerai” technique, with soft pandan leaves.

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This technique according to her is backbreaking and not easy to learn. She laments that the younger generation is not as patient when learning, and usually end up adopting easier techniques of weaving that are not as intricate as the “kelerai” technique.

She continues to weave despite her back aches, as she says that it is reward enough when she sees a piece of mat of complex patterns completed, the sense of accomplishment and pride at her skill motivates to once again continue.

The Pesta Kraf Pantai Timur in Kelantan and Terengganu displayed some of the best artisans and their work in batik, songket, wood carving, silver and copper.

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We visited batik workshops in Kelantan that were highlighted for their authentic and traditional batik block print and wax resist techniques. One workshop, Ayu Batik, was remarkable for their environmentally friendly approach by recycling water used to wash the dye off the batik textiles as well as recycling the wax used for the batik dyeing and colouring process.

 

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Ayu Batik has an incredible collection over 5000 batik block prints dated from the 60’s, some of which are meticulously restored and showcased. Its legacy continues with the owner and his son who continues designing with the authentic block print technique for batik.

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In Terengganu, the wood carving association at Desa Ukiran Kayu in Besut presented their impressive skills in traditional wood carving in a beautiful gallery at the Desa Ukiran Kayu.

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It was eye opening to meet the Master Malay Wood Carver Norhaiza Noordin (norhaizanoordin.wordpress.com). He has used his talents not only for wood carving, but he has created a stunning private art space and a residency for wood carving students that has to be experienced called Bakawali in Kg. Raja, Besut,Terengganu.

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After the visit to the East Coast, we have no doubt that craft and the mastery of craft in Malaysia are alive and well. Now we just need to tell the world about them.  

Fashion with a difference – the debut of Theatre of Fashion, Rainforest Fringe Festival 2017

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I have always known that Joe Sidek (the Festival Director of George Town Festival, Penang) was talented and used to organize fashion shows, but he proves that creativity can surpass itself over and over again. 

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