SHOWING INTEREST: A young visitor tries his carving skill on a wood block during the demonstration and talk.
EXPERT WOODCARVERS: (From left) Pine, Henry, Melton and Rickard (right) in a group photo at the Waterfront Amphitheatre before starting a woodcarving demonstration. — Photos by Rusnan Mustafa
EXPERT AT WORK: Rickard using a little hoe called ‘toki’ in Maori language to carve a block of wood.
IBAN CARVER: Henry poses with a yet to be completed artwork simply named ‘Kenyalang’ which he is attempting to complete by end of this year.
IMPARTING KNOWLEDGE: Melton (left) teaches a kid a simple carving skill.
TOOLS OF THE TRADE: A carver’s tools.
KUCHING: A government that recognises the importance of cultural heritage must give broad-based support to maintain and strengthen native arts and skills through education and community activities.
This was pointed out by world-renowned woodcarver from New Zealand, James Rickard, who said that passing down traditional skills is a necessary part of the survival of our culture.
“If you continually change bits and pieces of your culture, you’re going to end up with nothing. The legacy of Te Puia is to maintain what we have,” he said.
Rickard, who is of Ngati Porou and Tainui tribal descent, is the principal of Te Wananga Whakairo (New Zealand Maori Arts and Crafts Institute, a carving school at Te Puia.
“The school’s role within the Maori community is crucial in retaining the art of Whakairo because it has created an unbroken line of traditional art from Ruatepupuke (a Maori ancestor) down to today’s generation,” he added.
Rickard, who arrived here yesterday morning, was on a three-day cultural exchange visit as well as to share experience on traditional woodcarving through demonstration and talk at the Waterfront Amphitheatre starting at 2.30pm which will end today.
“Carvers around the world, especially non-commercial artistes, are struggling to get the resources to practise their skills,” he said, pointing out how expensive timber was in Malaysia.
He stressed that the government needed to approach the problem in a better way such as through providing sponsorship and funding as it was important for native artists to protect and maintain their works.
“The native artists are responsible for safeguarding cultural knowledge. There needs to be continuity as a carver. In this way, these cultures can be passed on to future generations,” he added.
“Government’s recognition is important because it is our distinctive history and culture that capture the imaginations. We are all unique because we can retain our diversity.”
Having run the carving institute for 13 years now, Rickard said it requires passion to learn woodcarving skills.
“Listen to the sound that these tools make. Our eyes, ears and hands are in sync when carving,” he said, adding that there was a physical rhythm in every tap into the wood.
Iban carver Henry Muda and Bidayuh carver Melton Kais agreed with Rickard that it is difficult to survive as a wood artist.
Henry said while government support is crucial, struggling artists would appreciate the freedom and respect for the arts and skills that could come along with it.
“I prefer the freedom to produce my own artworks without being tied down. But of course, we all welcome government’s support,” he said.
The 72-year-old ex-teacher has been carving for more than 50 years now.
“I came from a poor family who couldn’t afford toys so I made my own. That’s where I learn my skill,” he explained.
A number of his artworks can be seen along the Waterfront including the Majestic Fury (a bird with a spear) which is displayed opposite the Hilton Hotel.
Henry said he would love to pass his skills down to the younger generation even without a fee.
“However, not many people have the passion and perseverance,” he added.
Meanwhile, New Zealand High Commissioner David Pine said the master carver would come again in March next year, hopefully to coincide with the Borneo Education Fair.
“We would be organising a week of activities themed ‘Five Fish Eyes’ or ‘Lima Mata Ikan’ in Bahasa Malaysia to promote cultural understanding between the communities of Sarawak and New Zealand,” he said.
“In Maori language, it’s called ‘Rima Mata Ika’ which sounds very much like the native language here,” Pine said.
That apart, Pine added that ‘5’ was a good number that could mean the five senses of sight, hearing, smell, touch and taste.
Pine hopes that through these cultural exchanges, the two communities can strengthen the link between their cultures and languages which share many similarities.