KANGAR – Traditional artisans in Perlis are preserving Malaysian culture with their timeless creations, be it through exquisite garments or stunning decorative pieces.
These artisans, who Scoop met recently, have dedicated decades to their craft. Achieving their level of expertise is no easy feat, requiring an unquestionable flair and undying passion for art.
Wau, what a surprise!
Samat Man, affectionately known as “Pak Non Wau,” discovered his passion for wau (traditional Malaysian kite) during his youth, playing with his grandfather.
He honed his skills by frequently travelling to Kelantan, the heartland of traditional kite-making, since there were no wau designers in Perlis at that time.
“Perlis did not have anyone making (wau) carvings at that time. There were plenty of wau makers, but no one knew how to make its designs, which was why I often visited Kelantan.
“I have been fascinated with (wau) since childhood… right after school, I would always want to play with the wau,” he said.
Despite the initial challenges and lack of formal training, Samat’s unwavering passion for wau-making persisted.
His work has taken him to countries like France, the United Kingdom, China and South Korea, where he showcased his art in cultural exhibitions.
To inspire the younger generation, Samat often conducts wau-crafting lessons in schools under Kraftangan Malaysia’s programmes. At 78, he continues to design wau for friends competing in flying competitions.
Interestingly, Penang is the only state in the peninsula without a native wau type or design, a fact that puzzles Samat and adds a touch of humour for this author, a Penangite.
A fine chap-al
Che Saad Saep has been in the business of making capal (traditional leather slippers) ever since the Asian financial crisis in 1997, after losing his previous job in a factory after it shut down.
He was always confident in starting up his capal factory, thanks to his prior experience in factory management from his previous job.
“(I have the) experience of factory procedures. Although it was with different products, they had the same systems, such as product quality and machinery management,” he said.
He also said that while the industry must adapt to technological advancements, capal-making had its human touch, allowing locals to work alongside him.
Saad’s capal are well-loved by people, being purchased by notable leaders – including the state’s crown prince – and even being custom-made as gifts.
Saad added that opportunities to improve one’s productivity must always be seized, such as when he received grants and machines from Sirim Bhd for its research on innovation for high-tech and low-cost machinery.
“Capal-making does not have any specialised machinery and the ones we have cost a fortune. But, when we have the idea and support from agencies, (production) will be quick. But, we must not be stagnant. We must always try until we reach success,” he said.
Saad said he was one of the few traditional capal makers in Malaysia, as production in other states had plummeted due to the pandemic, natural disasters or owners’ age factors.
Batik: a love story in patterns
In the textile sector, married batik artists Fauzi Mamat and Yasmoon Hamad Musa founded Sensasi Batik Asfa in 2005, bringing Kelantanese batik designs to Perlis.
“It is not that we could not create batik in Kelantan, but it is already the place for (such items). When I came here in 1993, you could not even find three batik stores. But nowadays, there are many outlets as more people now know how to create batik,” Fauzi said.
Malaysian batik, according to Fauzi, is distinguished by its flora-based motifs, unlike the fauna-based designs of Indonesian batik. The couple’s work is priced according to intricacy, four metres of batik might cost RM150, while a complex batik painting could reach RM800.
Fauzi and his wife, who went to the National Craft Institute in the early 1990s, said people had come to them to learn batik designs, but only briefly before giving up.
“Batik-making needs concentration and a creative mind. Your movements must flow smoothly, as the design will expand at any moment of hesitation… once a piece gets ruined, it tends to dampen your mood.”
Fauzi also lamented the difficulty of sourcing raw materials like white cloth, candle wax and dyes, which were still predominantly sourced from Kelantan. – June 17, 2024