Dear friends,
Sarawak is a beautiful land. As the son of the land, I am always proud to tell the others where I came from when I am being asked, which is from Kampung Pichin, Serian. Growing up in the south, surrounded by my fellow Bidayuh clansmen, I am not really exposed to the other peoples in terms of day-to-day interaction during the first 12 years of my life. As I grow older, I met more peoples from all around the world, which is an eye-opening experiences. Currently residing at the northern part of Sarawak, Miri, I have the best opportunity to get to know more about the people of the North, which is the Orang Ulu (literally upriver peoples).
Orang Ulu is the term used by Sarawakians to refer to the ethnically-diverse group in the north, including Kenyah, Kayan, Kelabit, Punan, Penan, Lahanan, Kiput,Kajaman – to name a few. Due to the vast history of these culturally-rich peoples, it deserves its own story in another post. Interestingly, the Kalimantan Indonesians that has the same historical and blood ties with the Sarawak’s Orang Ulu still call themselves Dayak. Dayak, in Bidayuh Biatah/Padawan dialect means “people”. Orang Ulu is the term popularised by Orang Ulu National Association (OUNA) which was founded in 1969. In Sarawak, Dayak refers to either Land Dayak (Bidayuh) or Sea Dayak (Ibans), which was introduced during James Brooke time, making it easier for them to identify us. However, I have no knowledge of the separation of these Dayaks and Orang Ulu. Perhaps if there is any reader that has the knowledge can share it in comments below.
Anyway, there is one aspect of Orang Ulu that I want to touch today, which is their most famous musical instrument – Sape. Sape is originally three or four stringed instrument and is scaled in a way it is pentatonic, but modern variations has more strings and frets. Among the famous Sape players are the Sape Masters – Matthew Ngau Jau, the Sape master behind Lan E – Jerry Kamit and Kelabit beauty on a mission, Alena Murang.
My journey to find the more about this unique musical instrument leads me to the down-to-earth Sape maker of Miri, Matt Linggi from Iban tribe. He is actually an oil and gas professional, famously known as PLS – project liaison supervisor – at Central Luconia, but during his off-day, he dons his Sape maker outfit and grinds on.
Background:
He liked Sape music since his early childhood when it was played over the radio or cassette player. He have not seen any real sape instrument until he was in his 20s. His first sape was bought from a Kenyah Sape maker and also seasoned sape player, the late Usat Ulai from Tatau, Bintulu. The sape has a beautiful acoustic sound and authentic in design. He owns that sape for a couple of years before he gave it away to someone from Kuala Lumpur.
His inspiration of making sape came after I watched Jerry Kamit’s sape on his video clips album and in Youtube. He was amazed by its modern shape, handy and mobility. Since then he was trying to look for one of those kind but to no avail. He scouted around wherever he saw handicraft shops. He saw few sape but did not find them to be satisfactory to his expectation even though they are well- built Sape, well-designed and has various types of wood selection and range of prices.
His father has experience in crafting sape body for Orang Ulu tribe of Kayan from Belaga when he was young. Despite being experienced in crafting few sape, his father never learnt to install the strings and frets nor attempt to play any song whatsoever.
Entry Into Business:
His official entry into business started one day in early 21st century, sometime in 2005 when he asked his father to make one sape for him. His father did one for him, but then again, its shape and design was not up to his preferences. This sparks something – he was thinking maybe he can make one himself. With his father’s help, they managed to find the wood (Kayu Pulai/Pelaie) and he designed the shape and dimension to his preferences. His father made one and he also made one himself at the same time.
HIs first attempt of making sape was quite an experience for he have never seen and observed the real processes involved. His first Sape, visually is not so bad, acoustically was not impressive as he expected. The body construction was not ideal. Back then, he has no idea of how thick is thick or how thin is thin.
Since then, he is always thinking of making another, and better Sape but the ideas always come to a halt because he is always working abroad in oil and gas industry. When he works abroad, he is donning his coverall and focuses into HSSE aspect, but his heart and soul is always at the land of Hornbill and of course his Sape.
Reigniting the Flame:
In 2008, once again, he finally has a career based in Miri. That was where he began to materialise his dream. This time, he has better ideas after observing few sapes from different makers. His traditional ornament design was still very basic and simple. It is meant for his personal uses. He made Sape out of his hobby but then of few of friends showed strong interest in his Sape and asked him to make one for them.
That was how he began to make more Sape whenever he is available and has free time to spare.
Way back in 2011, his friend Hezekiah Asim gave him one Sape made by William Balam, a Kelabit guy. The Sape’s shape was so unique and has a fascinating ornament design. Hezekiah asked him if he can make one sape for him with something similar in design. He said He cannot promise but will do the best in his ability. After a year or so he managed to produce one of his own version very much inspired by William Bala’s Sape design.
From then on his Sape design has been transformed from basic and simple to more complicated and fascinating ornament design.
Sape-Making Processes:
The following are the processes involved in making sape, in their sequence, from paper to the finished product.
Challenges:
As of now, he personally feel that we need more Sape maker to cope up with demand from the ever-rising players request. This mean not only massive in production but also in term of quality that also has to be ensured. Through the quality of the Sape, it will be the Sape makers’ signature and their ambassador though people may not have met us personally.
Sape has evolved as time change. He said we hardly keep up with the pure traditional cultures because we are brought up in different time and place. But we ought to make an effort to preserve the traditional value of this precious instrument by reflecting the place of origin.
According to him, we could have modern version sape which reflect the traditional assents. This is where the new generation need input from the Sape masters or experienced maker/player because believe it or not, a Master’s was once a beginner too.
Also, due to severe deforestation, searching for the right and suitable wood also pose another concern.
Future:
Personally, he foresees that Sape will soar further than it already was. There are many young enthusiast that is eager to bring it up to the next level be it in craft design or ways of playing. Just like the performances made by the Alena, or even Nick of Sada Borneo. Beside local peoples, there is also a huge demand from international level for sape instrument. For example, the lute collectors from European regions. There will be no limit to this future because different player might want to have different Sape from different maker just like other instrument, where there is a need to be unique. Unlike others, most, if not all, Sape maker/player that he knew are very generous in sharing ideas and tips. They always compliments each other and should there is any “competition”, it will be a healthy one. In this way, the Sape players community can ensure the growth of Sape music throughout the world.
Ordering:
Should any of you are interested to get Sape of your own, you may do so and contact Matt Linggi via his Facebook . However, due to high demand, one will have to bear a long waiting list, especially if your Sape of request is beautifully decorated.
(Leica M10 & Noctilux – wide-open)
© Claudius Weson Photograpy (2019), unless stated otherwise. Matt Linggi’s personal images are used with his permission.
Claudius Weson is a freelance “tukang rantek” (photographer in Bidayuh) based in Miri, with passion in immortalising memories.