Dayak motifs reveal sacred philosophies<\/p>\n
Bambang Bider, Contributor, Pontianak<\/p>\n
Hanging each on the right and left walls of the entrance to the
\ncheck-in room of the domestic departure terminal at Soekarno-
\nHatta international airport is an engraving peculiar to the Dayak
\nKayaan-Kenyah.<\/p>\n
Every passenger, despite their hurried movement, will surely
\ncatch sight of these predominantly yellow, cement-made
\nengravings.<\/p>\n
These large, beautifully designed engravings reflect the
\nphilosophy of harmony of the Dayak people in the universe and
\nheed the real engraving philosophy of the Dayak. These artistic
\nworks are beautiful to the eyes of laymen, let alone to those
\nwith a good grasp of their profoundest philosophy.<\/p>\n
As Bernard Sellato has written in his famous book titled
\nHornbill and Dragon, the Dayak people possess high-valued wealth
\nof engravings. A design can be engraved on practically any object
\nin an appropriately esthetic and philosophical manner.<\/p>\n
In the days of yore, engraving was not the main job of the
\nDayak. They would be engaged in engraving work when they were
\nfree after harvest time and were preparing themselves for their
\ntraditional rites such as gawai (Dayak Iban), dange (Dayak
\nKayaan-Kenyah), nyareakng (Dayak Bakati') and naik dango (Dayak
\nKanayatn).<\/p>\n
Those engaged in engraving are mostly men because the material
\nto engrave is usually hard such as wood, leather iron or
\nceramics. Dayak woman usually apply their knowledge of engraving
\nin weaving, for example weaving cloths and dresses, embroidery,
\nputting beads together and body tattooing in a number of Dayak
\nsub-ethnic groups.<\/p>\n
An engraving piece has its own significance. Among the Dayak
\nIban, just like among the Dayak Kayaan-Kenyah, some engraving
\npieces symbolize a religious system while for the Dayak Bakati'
\nor Kanayatn, their engraving skills are reflected in totems or
\ntheir sculptures of human figures known as Pantak.<\/p>\n
Dayak engravings reflect the esthetic diversity of each Dayak
\nsub-ethnic group. Their engravings range from the simplest motifs
\nto the most complicated of forms. All these engravings, however,
\nshare a common religious value for the Dayak people.<\/p>\n
In general, Dayak engravings can be classified into two major
\ngroups: works with motifs of sacred significance closely related
\nto a religious system and those with profane motifs usually used
\nas household utensils, for example the motif of the eyes of a
\npigeon, the tip of bamboo shoots, breaking waves and so forth. Of
\ncourse, some sacred motifs can also be found on some household
\nutensils.<\/p>\n
A noted artist from West Kalimantan, Yohanes Eugene
\nPalaoensoeka, who is from Dayak Taman sub-ethnic group, said that
\nin the past the Dayak people rarely produced engravings of
\nextraordinary motifs.<\/p>\n
The variety of the engraving motifs is largely dependent on
\nthe experience of the engraver. If his knowledge is limited only
\nto the spiritual imagination of his community, his engravings
\nwill also reflect this knowledge.<\/p>\n
Dayak engravers, like Paulus Bunde, for example, always
\nexplore the images and spiritualism of their past in their works.
\nBunde said that foreign tourists liked these exotic elements in
\ntheir engravings. This exploration, he added, also means
\npreservation of the images and spiritualism of the Dayak in
\ngeneral.<\/p>\n
The Iban people in Serawak, Malaysia, have their own unique
\npractice of adding a new tattoo when they acquire a new
\nexperience. If someone flies in an airplane for the first time,
\nfor example, he will have a tattoo of an airplane made on his
\nbody.<\/p>\n
In Mendalam village in the rural area of Kapuas Hulu regency,
\na Catholic church has been built on the basis of Catholicism and
\nthe indigenous belief of the Dayak Kayaan. This shows a
\ntransformation in the pattern and meaning of Dayak engraving
\nmotifs.<\/p>\n
In keeping with the development of circumstances, engravings
\nof Dayak motifs have undergone a change in their functions and
\nsignificance. In the past, these engravings were made for a
\nparticular traditional rite but now many Dayak who have just a
\nlittle engraving skill produce Dayak engravings for a living.<\/p>\n
Unfortunately, some Dayak engravers have gone too far and are
\nengaged in the trading of sacred sculptures or lungun (the grave
\nof a Dayak that stands on poles) along with antique dealers and
\nthieves.<\/p>\n
What happens today is that a particular motif is engraved
\nwithout heeding the philosophical basis of an engraving. Take,
\nfor example, a particular motif on a T-shirt that thoughtlessly
\nuses a sacred name or term.<\/p>\n
Has it ever occurred to these people who make such motifs that
\nthey have desecrated their own indigenous faith, the faith of
\ntheir own parents and grandparents?<\/p>",
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