IJACA | Vol.

4 | Issue 1 | November 2021 | Pages 80-97

THE STUDY OF Cultural identity is a specific word that refers to

MATERIAL CULTURE individuals and communities in distinguishing

themselves from others. One of the most dominant
OF THE IBAN identities in a community culture is traditional
COMMUNITY IN clothing. In Sarawak, the traditional dress for the
SARAWAK: NGEPAN Iban is commonly known as Ngepan Indu. The
Ngepan Indu is often worn during the Gawai
Dayak celebration season as well as several other
ritual ceremonies such as the Miring ceremony
(Offerings) and Melah Pinang (Marriage). The
Noria Tugang Iban community believes that the Ngepan Iban is
University Malaysia Sarawak an identity and cultural icon in today's customs.
Apart from that, Ngepan Iban is one of the
Gregory Kiyai @ Keai treasures and legacies of Petara (God) who
University Malaysia Sarawak inhabited a kingdom called Panggau Libau, Tinting
Gawai Gasing Gerah Layang so that Iban always
remembered Petara and the origin of Iban's
ancestors. This paper aims to analyze and
Corresponding Author understand the Ngepan Indu in the context of the
[email protected] custom and culture of the Iban community by
using the qualitative research method based on
the collective memory of the Iban cultural experts
in Sarawak. Through this research, it is expected
to have an effective and progressive impact to
regenerate the spirit of Iban culture to continue
persistently preserve the Ngepan Iban as a
cultural heritage from the ancestors of the past, so
that it will continue to be preserved for the future.

Keywords: Culture, costume, identity, Iban,

Ngepan, heritage.

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 1. INTRODUCTION

Identity is a characteristic to introduce or to distinguish one thing from another. For the
name that was given to each human being is one a sign that to distinguishes from the
others. (Yussof, 2006: 13) stated that the word identity carries a more comprehensive
meaning than the word individuality. Individuality in the context of identity is interpreted
as self-strength based on the inherited tradition or authenticity that is within oneself.
The identity referred to in the context of this discussion refers to self-strength which is
expressed based on a symbol, icon, or a sign for society and culture. In addition,
(Ennaji, 2005) said that cultural identity refers to feelings or attitudes that indicate that
an individual belongs to a certain community and ethnic group. At the same time, this
cultural identity becomes part of the individual's self-perception which includes
language, religion, culture, social status, heredity, and culture. The similarity of these
aspects makes the individual feel part of the community by sharing these
characteristics.

1.1 Definition of Cultural Identity

Cultural expert (Hall, 1990) said that in general, the concept of cultural identity is formed
from history and past experiences. This culture has formed equality in society.
However, the cultural identity that has been formed has the potential to change or
survive through the influence of the media in this era of globalization. Hall's statement
is supported by (Fong and Chuang, 2003: 76) that historical factors play an important
role in shaping the cultural identity of a group of people and in the end, it will produce
shared characteristics. Although cultural identities have succeeded in forming
unification between groups of people, however, the characteristics that come from
these historical factors have the potential to change over time. The transformation that
occurs in this cultural identity has an impact on changes in community groups in the
context of cultural heritage, mother tongue, norms, religion, beliefs, and so on. This is
also stated by (Bernadette and Elmhurst, 2008: 5-7) who said that apart from history,
geographical factors are also a factor in the formation of indigenous culture through
culture, music, dance, and way of life.

1.2 Definition of Traditional Costume

According to the (Kamus Dewan Bahasa III, 1994) traditional costume is a complete
and beautiful custom clothing containing jewellery. While traditional is a word related to
nature or according to traditions or people who practice this way of life from generation
to generation. (Sholikhah, 2017) also supported that ethnic clothing is referred to as
traditional clothing, which is a regional dress that has been worn from generation to
generation, which is one of the identities and can be proud of by most supporters of
certain cultures. Traditional clothing includes a symbol of identity, social status, way of

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 life, and technology skills to shape society. The identification of the races in this world,
apart from being identified through physical and way of life, the style of dress is also
one of the special characteristics in introducing people's abstract identity. For example,
people in China are known to wear Cheongsam and Indians wear Saris, while the
Dayak Iban in Sarawak and Kalimantan is known to wear the Ngepan Iban.

2. LITERATURE REVIEW

Iban is one of the largest sub ethnics in Dayak community living in Sarawak (a part of
Borneo Island). Sarawak were famous with epithet as the land of hornbills. Sarawak
is a state located in northwest of the island of Borneo and overlooks the South China
Sea. With an area of 124,450 square kilometres, Sarawak became the largest state in
Malaysia. The extent of Sarawak covers about 48,000 square miles with a beach area.
The topography of Sarawak consists of mountainous areas in the southeast and
lowlands in the northwest of about 500 miles long and has altitude of between 2,500 to
4,000 feet above sea level. Sarawak border with Kalimantan, Indonesia, Brunei and
Sabah (Ismail and Noor, 2019).

The early migration of the Iban community can be identified based on oral traditions
and historical sources. They believed that the Iban people migrated more than 600
years ago from Kapuas, Kalimantan. But referring on (Simonson et al, 2011) genetic
research, early human migration across the Sunda land route connecting the land of
Southeast Asia has occurred about 45, 000 to 50, 000 years ago. Evidence of genetic
sampling suggests that the theory of Austronesian society originated in southern
Taiwan is unlikely. Recent research based on DNA analysis has concluded that
migration from mainland Southeast Asia only occurred in the same range. It is predicted
that several lineages associated with the prehistoric migration of the last ice age have
created a wave of migration through the ISEA coastline. The Iban community believed
to be among those involved in the early migration. This fact is based on the discovery
of primitive human fossils that have been excavated near the modern settlement of the
Iban community longhouses in Niah cave, which is in Miri Sarawak. It is widely believed
regarding the Iban existence in that period. As time move on, the Iban people had
spread to the northern part of Borneo and identify a suitable settlement and established
their ethnicity based on their surrounding nature. However, the migration progress does
not halt. The mobilisation of the Iban was carried out for several generations to find
suitable location to be inhabited. There are various factors that caused to the migration
of the Iban community. Initially, it was for the purpose of searching fertile soil. After the
culture of the Iban community is more developed, they migrate with the aim for the
head-hunter expedition with the purpose of expanding power, custom and their legacy.

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 According to (Sutlive, 1992), the Iban community is a branch of the Dayak ethnic group
inhabited the Borneo archipelago for a long time. During the British colonial era, they
were recognised as the Sea Dayak and famous for head-hunting tradition to defend
their territory. In addition, (Payne, 1986) explained the socio-cultural community of the
Iban people inhabit the riverbank area and carried out their activities to mature. Based
on (Pringle, 1970), before the colonisation, the Iban community did not have specific
term for identifying themselves like the current Iban community. However, the Iban will
self-introduction themselves based on river they are currently settle in. For example,
kami ari Skrang (we are Skrang) or kami ari Undop (we are Undop) even they will refer
to “We of this area”. If this method of identification still practices in the modern era by
the Iban community in Sarawak. Now Ibanic group can be classified in two groups
based on political geography: the first Ibanic who settled in Sarawak, Malaysia, namely
Balau, Remun, Sebuyau, Lemanak, Skrang, Undop, Saribas and Ulu Ai. Second is
referring to Ibanic in West and East Kalimantan, Indonesia, namely Mualang,
Seberuang, Bugau, Kantu, Desa, Sebaruk and Banyur. However, there are three main
theories about the arrival of the Iban community in Sarawak. The first theory
established the arrival of the Iban people is from Tanjung Datu in Lundu. The second
theory is also by referring to (Sandin, 1967: 3-26). The theory concluded the Iban
migrated through Merudu Hill located near Brunei, and the third theory is the widely
accepted in Iban community. The theory suggested that the Iban migration was from
the Kapuas valley into Sarawak through the Kumpang area. This theory is based on
the Iban community's oral traditions told from generation to generation with the journey
of Aki Lang Sengalang Burong (God). Aki Lang Sengalang Burung had migrated from
Tampun Juah and stopped in the area stated above.

The culture inherited in the Iban community has existed for hundreds of years created
by their ancestors. The culture was shared by many in order to form their identity as
the Iban people. The Iban people believe that the culture they practice today is a gift
from the God called Petara. Based on the Iban oral tradition, the Iban explains that
once upon a time the Iban people and Petara communities lived together in a place
called Tembawai Tampun Juah. The relationship between the Iban and Petara was
temporary. The separation between mortal and divine happened as the result of
conflict. Although the Iban have been taught the method of living through Petara (gift)
way of life. Therefore, the legacy left by Petara and the information gained by the oral
source earlier. These two components have become the essence and identity of the
Iban community until now.

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 3. RESEARCH METHOD

This research is in the form of ethnography based on the cultural material of the Iban
community in Sarawak. According to (Hanson and Creswell, 2005), an ethnographic
study is a qualitative study to describe, analyze, and interpret the forms of culture
sharing in a group such as behavior, belief, languages, economy, political structure,
interaction, life, and relationship styles. Besides, (Darmawan, 2008) stated that
ethnography is a field of study that focuses on descriptive studies, cultural analysis,
linguistic that among others describe and analyze language codes. Ethnography is also
an observational field study which is often used in the sociological and anthropological
studies and referred to as natural scientific research (Marican, 2005). Hence, the data
findings described in this paper are the thesis data of researchers which are obtained
through three methods of data collection, namely field observation, interviews, and
documentation.

Observation involvement of the field is a qualitative method conducted by the

researchers to the Iban community settlement area. According to (Jasmi, 2012), the
observation method through the involvement comes from the field of anthropology,
which is the study of the community of life. Researchers usually engage with the target
community to understand an issue clearly. The reason behind the usage of observation
involvement technique to the field, according to (Moleong, 1989), the observation
allows the researchers to see, feel, interpret the world along with various social events
and social symptoms in it, as the subject sees, feels, and interprets it and the
observation allows the formation of knowledge between the researcher and his subject
(intersubjectivity). Three main districts have been identified in this research which are
Rumah Liam, Rantau Kembayau, Manis Lubok Antu, Rumah Kunjang, Etawa Asal,
Undop, Sri Aman, and Rumah Bujang, Rantau Kiran, Nanga Medamit, Limbang to
conduct research method observation by community involvement.

Besides that, this research also applied a documentation method to archive the Ngepan
Iban. According to (Lund et al, 2008) defined documents as the result of human effort
to say, give instructions, show, teach, or perform, document briefly using specific tools
and methods. Moreover, (Buckland. 2017) believed that documentation is a method of
collection, selection, processing, and storage in the field of knowledge and the
provision or display of shreds of evidence such as photographs, newspapers, and other
data sources. The notion of documentation has evolved into more complex in
describing human social events through its activities. Hence, it is used in this research
to draw the cultural artifacts of the Iban community that are considered sacred in their
beliefs and practices in Sarawak.

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 The last method of data collection is the interview. It is divided into two target groups.
The first target group used the focus group interview. Where the researchers have
interviewed a group of informants living in longhouses related to history, the process,
the taboo of sacred artifacts in Iban society. The second target group is the Iban
community who has the expertise and proficient in Iban culture. The informants were
interview (in-depth interview) based on their skills and knowledge in detail about the
customs, skills, and beliefs of sacred artifacts. Collective memory technique is used as
the data collection method which is consist of an individual interview (in-depth
interview) and a focus group interview.

Collective Memory is a memory which is referred as a rearrangement of the past and

adjusts the images, beliefs, and experiences of the present (Mead, 1929). Besides,
according to (Olick, 1999: 337), Collective Memory is an action that includes collective
representational factors (symbols, meanings, narratives, and rituals that exist in a
society), cultural structures, and individual memories that are formed personally and
socially. culture. According to Barbara (Misztal, 2003), human memory can be
expressed in various forms, namely, (i) Reflective memory is a person's memory that
involves interaction with the people around him. (ii) Generational memory is a memory
that is passed down from the older generation to the successor or the younger
generation so that the memory will continue to live in the culture. This memory causes
events to continue and regress if forgotten and (iii) Traditional memory is static
memory, past-oriented and conservative. Moreover, memory is resistant to change and
as a tool to integrate past and present until there is balanced development. Where the
informants who have been interviewed are a group of experts in Iban culture. The data
collection method used to obtain data used the Collective Memory technique, namely
individual interviews (in-depth interviews) and focus group interviews.

4. RESEARCH FINDINGS

Today, Ibanic speaking can be grouped into two categories. First Ibanics that live in
Sarawak, Malaysia namely Balau, Remun, Sebuyau, Lemanak, Skrang, Undup,
Saribas, and Ulu Ai. The second refers to Ibanic that lives in West and East Kalimantan,
Indonesia, namely Mualang, Seberuang, Bugau, Kantu, Desa, Sebaruk, and Banyur.
The identification is broken down into several races which are classified according to
the river, which is the settlement of the Iban community like Iban Saribas, Iban Batang
Ai, Iban Batang Lupar,Iban Batang Rajang, Iban Sebuyau and Bilak Sedik.

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 4.1 Ngepan Indu Iban is based on the Myth of Kumang.

The history of Ngepan Indu Iban cannot ascertained, since when did the Iban people
start wearing it, but according to informant (Edmmund Langgu, 85 years) said that,
Ngepan Indu Iban was closely related to the Dayak Iban Goddess named Kumang.
Kumang (Goddess Kumang) is considered as a famous Iban legend figure, till the point
that before the Gawai Dayak, there will be a beauty competition called Kumang Gawai
as a sign to remember Kumang. The figure of Kumang was described as an ideal Iban
woman and has various advantages such as good at weaving cloth and pua. She also
has a polite personality and a beautiful face that comes from Gelong Batu Nakong, who
then married to Dewa Keling (God Keling) and moved to Menua Panggau Libau.

According to (Gavin, 1991), the Iban believes that Kumang will often manifest in Iban
women’s dreams by giving them directions to weave motifs and patterns. The Iban
woman that was chosen by Kumang through the dream must then perform a Ngar
ceremony to fulfill the wishes of the people in Panggau Libau. The figure of Kumang
has not only to help the Iban women, but she also helps the Iban men who want to go
to war. Therefore, the Iban people have learned and imitated the way of dressing based
on Urang Panggau (Elysium) life. Generally, Ngepan Iban is not only a traditional dress,
but as an identity so that Petara (god) will recognize them during the ritual ceremony

4.2 Type Ngepan Indu Iban

According to informant (Janet Rata Noel, 50 years), the curator of the Tun Jugah
Foundation said that clothing, or what is known as Ngepan is the identity of the Iban
community in Sarawak, but there are some special characteristics and differences that
exist in each of these traditional clothes. In the Iban culture, several types of Ngepan
Iban have been identified, namely Ngepan Saribas (Betong, Paku and Krian), Ngepan
Kuas (Undop, Semanggang and Lingga), Ngepan Batang Rajang (Kapit), Ngepan
Batang Ai (Lubuk Antu, Lemanak and Engkelili) ) Ngepan Ringgit (Skrang) and the
general Ngepan Iban (used by all the Iban). This identification is based on the name of
a residential area or river close to the Iban in Sarawak. The existence of differences
among the Iban communities is influenced by factors of migration and cultural
adaptation to the natural surroundings. The types of Ngepan Indu Iban are as follows:

4.2.1 Ngepan Iban Saribas

Based on an interview with Informant (Maria Liban, 79 years old) Ngepan Saribas is
Ngepan used by the Iban who domiciled in Betong, Paku, Krian, and Layar. This
Ngepan has its distinctive characteristics, namely using a Rawai Tinggi (corset made
from silver) which is made from silver or rattan and shaped into a circular shape

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 according to the cut of the woman's hips, then decorated with silver coins. Ngepan Iban
Saribas is usually combined with a Kebat cloth (Iban weaving that has a water spiral
pattern), Lampit Perak (silver lampit), Sugu Tinggi (high comb/headdress), a pair of
silver earrings, Kalung Perak (silver necklace), and a complete set of Tumpa Pirak
(silver arm bracelet). Meanwhile, the legs will be covered with a set of silver anklets
that have bells and the hands will be tucked in a white lacy handkerchief while holding
the Buah Pauh as additional decoration.

Sugu Tinggi

Kalung Perak

Tumpa Pirak
Rawai Pirak

Kain perca
Kain Kebat

Figure 1: Ngepan Saribas (Photo by: Urai Lidum, 2019)

4.2.2 Ngepan Batang Rajang

According to informant (Janet Rata Noel, 50 years old), Ngepan Batang Rajang or
Dujung Marik is Ngepan for the Iban who live in the Batang Rajang River refer to the
Kapit, Song and Balleh area. Dunjung Marik, which means a large pile of beads is made
following the Ngepan characteristic, with the predominance of beads of various colors
and high quality. Meanwhile, Baju Marik clothes are made using bead embroidery
techniques of various colors and categories such as glass beads, blue barrel beads,
straw beads, buah pelaga (fire agate), brass bells, and cowrie shells. To complement
the Ngepan Dunjung Marik style, accessories such as dunjung (headdress made of
beads and paper flowers), burie cloth (cloth embroidered with snail beads), tumpa bulu
(bracelet made of rubber trees), and gerunung siong will be added as a hand
accessory. It is believed that the Ngepan Iban in Batang Rajang received influences
from the Urang Ulu (Kayan, Kenyah, and Kelabit) culture as well as the Embaloh ethnic
who were the early settlers on the Rajang River before they migrated to the highlands
of Bario and Ba'kelalan

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 Dunjung Marik

Baju Ujan

Tumpa Bulu

Figure 2: Ngepan Batang Rajang (1997) (Photo by: Kapit Bulletin, 2019)

4.2.3 Ngepan Batang Ai

Ngepan Batang Ai or Ngepan Lampit Besusu refers to the traditional dress of the Iban
who lives around the Lemanak, Engkelili and Lubok Antu areas. According to (Jusy
Sambai, 2018), based on his research, Ngepan Batang Ai's complete costume are
Sugu Tinggi (headdress), Lampit, Tumpa Bentuk, Tumpa Rangkup Pandak, Pandak
Pirak Rawai, Kain Sungkit (woven cloth), Gelang Kaki (anklets), Tali Leka Peria (silver
ropes), Sementing Ringgit and Buah Pauh (hand accessories). Physically, Ngepan
Batang Ai is almost identical to Ngepan Iban from Skrang area, but there are still
significant differences that can be seen clearly. One of the examples is the use of tenun
sungkit (woven textiles). According to informant (Sima Jang, 70 years old), said that
the Iban in Batang Ai is more likely to produce tenun sungkit weaving than Kain Kebat
(weaving fabrics). This is influenced by the kain sungkit (woven fabrics) textile which is
more colorful and has more distinctive motifs than other Dayak Iban woven fabrics.
Besides, the uniqueness of Ngepan Batang Ai is that its usage of lampit (Silver Belt)
as the main accessory to cover a woman's chest.

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 Sugu Tinggi

Lampit
Tali Mulung

Rawai Ringgit

Tumpa Bentuk
Kain Kebat or Sungkit

Figure 3: Ngepan Batang Ai (1891) (Photo by Sarawak Museum, 2019)

4.2.4 Ngepan Skrang

Ngepan Skrang, also known as Ngepan Ringgit, is a traditional costume of Dayak Iban
who lives in the Skrang area. According to informant (Beol Dingin, 80 years), Ngepan
Ringgit from Skrang generally uses a Sugu Tinggi (headdress), Baju Ringgit, Rawai,
Kain Kebat (weaving fabric), and accessories such as Lampit Ringgit, Tumpa Pirak,
Simpai Pirak, Buah Pauh, and Gerunung Kaki (bell anklet) in the arrangement of
traditional clothes. The specialty of the Ngepan Ringgit is the use of silver coins from
Europe as a characteristic of the Ngepan Skrang in accentuating the identity of the Iban
traditional dress in Skrang. The usage of the name Ringgit was inspired by the ringgit
currency in Malaysia, although the basic material for the traditional Ngepan Skrang
clothing uses silver coins from Europe.

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 Sugu Tinggi

Kalung Pirak

Baju Ringgit

Tumpa Pirak

Percha Buah Pauh

Kain Kebat
Gerunung kaki

Figure 4: Ngepan Skrang (1891) (Photo by Sarawak Museum, 2019)

4.2.5 Ngepan Iban in General

Ngepan Iban, generally refers to the traditional costume that is identical to the Iban in
Sarawak, even in Kalimantan. This type of Ngepan is not specific to a single area like
the other Ngepan Iban as above. Moreover, the general Ngepan Iban is an inheritance
from a the Iban family that will be passed down from generation to generation by
grandmothers, mothers, parent-in-law, or spouses. According to informant (Chermai
Iri, 68 years) Ngepan Iban, which is always arranged by Iban women in the Gawai
Ceremony, consists of Sugu Tinggi, Tali Mulung, Rawai, Buah Pauh, Bentuk Tumpa,
Gerunchung Kaki, Lampit, Sementing Ringgit, Selampai, and Tango. This type of
ngepan is widely used by the Iban community as a sign of their identity to differentiate
themselves from other Dayak ethnicities.

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 Sugu Tinggi

Marik Empang/ Selampai

Tanggo

Rawai Ringgit
Tumpa Bentuk

Buah Pauh

Kain Kebat

Gerunchung Kaki

Figure 5: Ngepan Iban during Gawai Dayak (2019) (Photo by: Durasima Namieng,
2019)

5. DATA ANALYSIS AND DATA INTERPRETATION

Efforts to introduce and elevate Ngepan Iban as a symbol of the Iban identity to the
national level began with an Iban Women’s Organization in 1950. It is located at
Kuching, Sarawak which is also known as Serakup Indu (Iban Woman Associates).
The organization is led by Ms. Barbara Bay who has gathered the Iban women with
basic education such as reading, writing, and counting from all over the Sarawak such
as Lundu, Lubuk Antu, Betong, and Simanggang (currently known as Sri Aman). The
objective of the establishment of this association is to improve the quality of life of the
Iban, especially women in terms of education, health, economy, and socialization,
especially in Iban cultures such as holding a Ngajat dance and Pua Kumbu weaving
class. However, the initial effort to preserve Ngepan Iban only happened in a group of
women who are involved in the association only due to a lack of skilled manpower in
administering the association.

On September 25, 1964, a year after the formation of Malaysia, an Iban female political
figure, the late Philomena Tra Jemat or also known as Dato Sri Tra Zehnder Jemat
along with other Dayak ministers, fought for the Pesta Gawai Dayak to be held as a

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 national festival to celebrate the Dayak in Sarawak especially the Iban and Bidayuh.
The special declaration was given by the state government to allow Gawai Dayak
Festival to be celebrated every 1st June by the Dayak community has provided a
culturally friendly landscape and perspective in introducing the Iban Dayak cultures and
lifestyle in general to the national level. Through the Gawai Dayak Festival, Ngepan
Iban has been promoted indirectly as the identity and icon of Dayak Iban traditional
clothing until these days.

The beauty of women who wear Ngepan Iban is often expressed in Leka Main Iban
(Oral tradition) such as Sugi, Pantun Puji, Ramban, and Ganu. Examples of
compliments that are often sung by the Iban men to admire the beauty of a woman in
wearing Ngepan Iban are such:

Table 1: The Metaphor of Iban Beauty

Iban Language English Translation

Rarat betis, baka lais patis ikan straight and long calf section
laban resembling the shape of fish

Lengan baka ripan buluh lalang the small sleeves are shaped
like pointed bamboo items

Buk baka kemidin dunjang hair that is combed and worn

with Sugu Tinggi likened a
crown

Kuyu pelu-pelu baka telu round cheeks are shaped like

kepayang an oval egg

Idung baka puncung tersabut pointed nose likened to the top

tunsung of a high hill

Dada nyala baka gaya duyung the virgin chest part likened to
telentang a mermaid’s chest

Pejalai baka selali daun lalang slow and beautiful way of

walking likened to blown
weeds wind

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 According to (Lemambang Abang Entrey, 81 years old) through the metaphor of the
language, the beauty of a woman is reflected through the elements of flora and fauna
within their settlement. Apart from that, the Iban also depicts the beauty of a woman
through sacred figures such as Mermaid. It is not only interpreted in linguistics but also
applied in the art of the Iban community as in the motifs found in Pua Kumbu and
bemban weaving. In the social tradition, Ngepan is a legacy and inheritance
bequeathed by a woman in a the Iban family. The inheritance process is done for
generations from grandmother to mother, then to daughter or daughter-in-law and the
practice takes place continuously. Indeed, Ngepan Iban has a high aesthetic value in
the Iban culture. Ngepan Iban is a form of activity that involves traditional ceremonies
and rituals. It is used in traditional ceremonies and rituals. For example, Gawai Tanju,
Bedara, or Begawai Umai (Harvest Celebration). Apart from that, Iban women wear
Ngepan Iban to welcome the return of their husbands who have returned from the
Ngayau expedition. The Iban woman will wait for her husband, or the Iban man at the
front of the stairs then greet the enemy's head that was obtained during the Ngayau
expedition using the Pua Kumbu which has a bali belumpung or melting fire motif.

The Iban women in ancient times did not care if they became widowed at a young age
when their husbands went on the Ngayau expedition, this was because they were more
concerned with name and family status when their husbands returned from Ngayau
(head-hunting). When carrying out the Miring (offering ceremony), the use of Ngepan
Indu is mandatory, especially for Indu Piring, which is the woman who prepares and
manages the equipment for the Miring (offering ceremony). It proves to Petara (God)
that the Iban are serious in carrying out the ceremony to ask for help and assistance.
For ordinary people who do not use Ngepan Iban, it is advisable to stay away from the
offering ceremony for fear of being exposed to spiritual forces that can cause illness
and lead to death. The Iban believes that during the Miring ceremony, Petara (God)
and Urang Panggau (Elysium) will come to listen to the Iban requests. The shrilling
sound of a Kain Tating (Iban fabric) decorated with coin ornaments will produce a
melodious sound like an Emping Aling bird. It will attract the attention of a the Iban man
to choose his future wife candidate. In the past, the Iban, especially mothers who intend
to find a daughter-in-law, paid close attention to the perfection of Iban women who wear
Ngepan Iban, especially unmarried Iban women. The complete use of the Ngepan Iban
will symbolize the status of the wearer and her family.

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 There is a significant difference in the enrichment of Ngepan Iban who lives in Batang
Rajang and other the Iban areas. Whereas the Iban in the Batang Rajang area tends
to use beaded ornaments as a special characteristic in celebrating their traditional
costume compared to the Iban who lives in the Saribas, Skrang, and Batang Ai areas
who prefer silver accessories as the main ornament in enriching the traditional
costume. This is due to cultural assimilation between the Iban tribe in Batang Rajang
and the Urang Ulu tribe who tend to use beads as the main decoration in their culture.
In the past, apart from cultural objects such as ceramics, beads were also very valuable
assets for the indigenous people on the Borneo Island, they obtained these beads from
traders who sailed from China to Borneo through the barter system, where they would
exchange rice for goods. Other essentials from China such as ceramics, beads, and
textiles.

As for the Iban people who domicile in the Saribas, Skrang, and Batang Ai areas, they
are fond of silverware, so they have adapted using silver in innovation and cultural
object creation. For the Iban, apart from ceramics, objects that are produced from silver
are a status symbol of wealth and pleasure. The more silver collections a family have,
the higher their rank in social status in the longhouse. Therefore, in ancient times it was
not surprising why the Iban people liked to grow hill rice on a large scale, the aim was
to buy, and own objects made of silver as an heirloom and a symbol of wealth status.
They will also feel embarrassed when talked about by another the Iban if they do not
own or borrow the Ngepan Iban. These factors motivated the Iban to diligently cultivate
rice and expand their power through the Ngayau expedition to obtain items such as
tajau (vase), gongs, and silver accessories so they would not sag in front of other Iban
communities.

There are some significant changes that can be clearly seen in the aesthetic value of
Ngepan Iban especially in terms of manufacturing materials and application practices
among the Iban especially in terms of manufacturing materials and application
practices among the Iban today. In ancient times, the material for making Ngepan Iban
accessories was using pure silver specially forged by the Memaloh ethnic, they learned
silver forging techniques from traders from China. Therefore, every forged accessory
has a high value, weight, and durability to be stored as an inheritance for a long period
of time. Apart from that, the Iban also produces natural-based textile weaving to make
Kain Kebat as the basis of Ngepan Iban. Natural ingredients such as Engkerabai leaves
will be used as dyes to produce red and brown colors, while taya will be used as yarn
for the process of weaving the kain kebat. The process of making Kain Kebat is very
taboo and full of customs. The Iban believes that Pua and Kain Kebat is an introduction
to Petara and was raised as a sacred cultural artifact in the Iban ceremonies and rituals.

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 Before producing weave, the Iban women should wait for a good and happy dream
from Petara (God). This intended to get blessings from Petara (God) and to ensure the
weaving process will run smoothly.

Nowadays, in line with the development of globalization, the material in the

manufacture of Ngepan Iban accessories have existed in various variations. Ngepan
Iban accessory material that was once made of pure silver has been replaced with
aluminium sheets as an alternative in producing more modern Ngepan Iban
accessories due to the cheap market price factor and easy to shape according to the
taste of the owner. Besides, the manufacture of Kain Kebat is also modernized using
yarns that are available in the market and come in a variety of colours. Indirectly, the
Iban is no longer rely entirely on natural resources to produce their woven textiles as
their ancestors have done in the past. The practice of the belief in sacred power in the
process of weaving Kain Kebat is fading among the younger generation of Dayak Iban
due to the new belief factor that they adhere which is Christianity. Indeed, the impact
of globalization has an impact on the authenticity of Ngepan Iban especially in terms of
its material use and aesthetic practices. Thus, to ensure the authenticity and value of
Ngepan Iban tradition continues to be preserved, Tun Jugah Foundation, Dayak Chair
Foundation together with public institutions such as University Malaysia Sarawak must
actively strengthen the Iban awareness through workshops, seminars, and academic
discussions to increase understanding and awareness on the upkeep of Ngepan Iban
in the future. So, its sustainability remains relevant in the Iban culture in Sarawak.

6. CONCLUSION

In conclusion, until to this moment, the the Iban still preserve and maintain Ngepan Iban
as their identity and icon in Iban culture. Although Ngepan Iban has undergone
significant changes in terms of originality in the enrichment of materials and clothing as
a result of various factors such as cultural assimilation, changes in globalization, and
even cultural modification, however, the Iban themselves still have a passion to
preserve Ngepan Iban as an important cultural heritage in Sarawak. Therefore, through
this research, it is expected to have an effective and progressive impact to regenerate
the spirit of the Iban culture to continue persistently preserve the Ngepan Iban as a
cultural heritage from the ancestors of the past, so that it will continue to be preserved
for the future.

95 IJACA | Vol.4 | Issue 1 | November 2021

 ACKNOWLEDGEMENT
We sincerely thanks Research Innovation and Enterprise Centre (RIEC), University
Malaysia Sarawak for funded this research paper under UNIMAS Post-Graduate
Student Research (F03/PGRG/1799/2019).

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