MANIK

MANIK pinakol dan rantai yang sering dijadikan hiasan untuk dipakai wanita Sabah dari suku kaum Rungus ketika majlis keramaian (gambar)





Pinakol



DI rumah panjang itulah dia dibesarkan dan belajar mengenal erti hidup. Rumah panjang yang terletak di Kampung Tinangol, Kudat, Sabah itu memang terpencil dan sukar untuk dijejaki jika tiada pemandu pelancong yang membawanya. Namun di situlah tempat Erllin Agunchai, 25, membesar dan menghabiskan hampir seluruh waktu siangnya membuat kraftangan yang berasaskan manik.
Berpusat di sebuah bengkel yang didirikan khas, setiap hari Erllin bersama dua anak perempuannya, Elvera, 6, dan Elfey Ferra, 2, akan membuat kraftangan manik. Di situlah juga manik yang telah dicantumkan menjadi barangan perhiasan akan dijual kepada pelancong yang sampai ke kampung mereka.
Sejak berusia 13 tahun lagi Erllin telah membuat gelang maniknya sendiri, namun gelang maniknya itu musnah dalam kebakaran yang berlaku di kediamannya beberapa tahun lalu.
Bukan dipaksa atau terpaksa, minat membuat kraftangan manik sememangnya terbit secara semula jadi dalam diri ibu muda ini. Sebab itulah dalam sehari Erllin mampu menghasilkan lebih dari tiga perhiasan yang diperbuat daripada manik. Sebagai suri rumah dan pengusaha manik sepenuh masa, Erllin mampu memperoleh pendapatan sebanyak RM200 hingga RM300 sebulan.
Jumlah itu bukan sahaja cukup untuk menampung kehidupan malah memberi Erllin peluang merencanakan masa depan anak-anaknya dengan menabung pendapatan yang diperoleh hasil dari menjual manik kraftangan beliau.
Ia menjadi pelengkap kepada pendapatan suaminya, Edmund Polipus, 30, yang bertugas sebagai guru untuk menampung kehidupan mereka berempat.
Bukan Erllin sahaja, malahan neneknya, Ombuong Musodong, 65, ibu saudara, sepupu serta rakan-rakan Erllin turut terlibat dalam bisnes yang sama dengannya. Pendek kata setiap wanita di kampung itu semuanya memiliki kemahiran membuat kraftangan manik dan meneruskan tradisi itu secara beramai-ramai.
“Kenangan yang paling tidak dapat dilupakan sejak memulakan perusahaan ini ialah apabila mendapat tempahan pinakol (manik yang dibuat berbentuk rantai) sebagai cenderamata untuk seorang paderi.
“Ia dijual dengan harga RM150, yang paling mahal pernah saya jual sepanjang terlibat dalam bidang ini,” jelas Erllin yang ditemui di bengkel kraf Kampung Tinangol, baru-baru ini.
Erllin berkata, hampir 100 wanita di kampungnya akan bekerjasama membuat manik sekiranya mendapat tempahan. Mereka tidak pernah bersikap mementingkan diri sendiri malah setiap keuntungan dibahagikan sama rata sesama mereka.

“Paling menarik, para suami akan turut menolong kiranya para isteri tidak mampu menguruskan tempahan yang banyak,” ujar Erllin dalam loghat Sabah yang mudah difahami.
Setiap corak yang dihasilkan adalah mengikut kreativiti mereka sendiri. Perhiasan seperti rantai dibahagikan beberapa nama seperti litai Sabah, litai Venusak, tinutu (corak tradisi), inavol dan pinakol.
Menurut Erllin, pinakol paling sukar dihasilkan kerana ia memerlukan ketelitian serta kesabaran yang tinggi.
“Pinakol ini pula terbahagi dua iaitu yang jenis bersilang dan yang kedua biasanya digunakan pada tradisi perkahwinan suku kaum Rungus di Kudat,” jelas Erllin.

Antara produk daripada manik yang dihasilkan termasuklah gelang, rantai, kerongsang, balutan pen dan macam-macam lagi.
Mengikut bancian yang dijalankan oleh Kraftangan Malaysia, perusahaan manik merupa



Manik



kan perusahaan yang paling ramai jumlahnya di Sabah. Justeru ia menjadikan manik sebagai sumber ekonomi majoriti wanita Sabah.
Penglibatan Kraftangan Malaysia, khususnya dalam program pembangunan usahawan dan promosi ternyata memberikan nafas baru buat seni warisan Sabah ini. Sekali gus menjadikan kraf



manik sebagai satu seni yang akan terus mengekalkan tradisinya di negeri yang terkenal dengan jolokan negeri di bawah bayu itu.
Seperti usahawan lain, Erllin turut berharap agar gerai maniknya lebih maju pada masa depan dan dapat menyertai pameran di luar Kudat dengan lebih banyak lagi.



MUSICAL INSTRUMENTS

Suling The music of Sabah is intimately bound up with the daily lives and cultural traditions of the diverse ethnic cultures of Sabah. It can be found in many forms like ritual music (for birth, marriages, harvest festivals, deaths) love music, battle songs, story telling songs, among others. For example, the Kadasan Dusun Bobohizan or Bobolian (or high priestess) engages in ritual chanting to appease the spirit in times disaster like floods or droughts. Also, music and dancing are closely linked: the festive dances like the Limbai of the Bajaus and Sumazau of the Penampang Kadazans have distinctive wedding music. In fact, in most Sabahan ethnic groups, song, dance and the accompanying music are, in the main, inseperable as each element is a part of an organic whole, which permeates the lives of the natives. This is reflected in the music significance to festive and commemorative occasions and as a means of personal expression and entertainment. Experience, then, the intensifying power of the gong ensembles, the rhythmic tung, tung, tung harmonies of the togunggak, the healing musical balm of the suling. The following traditional musical instruments of the various Sabahan ethnic groups are divided according to the way in which they work: IDIOPHONES:   Instruments made with materials which produce sounds when scraped, rubbed, hit and without further intervention of other materials.

GONG ENSEMBLES



Gong

Are the most prevalent of Sabah indiophones, found throughout most parts of Sabah especially amongst the Kadazan Dusuns and muruts. The gongs are made of brass or bronze and were originally traded in from Brunei in earlier times. Usually they are thick with a broad rim. They produce a muffled sound of a deep tone.The sopogandangan from the enterior (of the Tambunan Kadazan Dusuns) accompanies the magarang, usually in commemoration of harvest festival and weddings though traditionally the magarang was associated with headhunting. The sopogandangan has more instruments (nine-eight gongs and one drum) than the sompogogungan (seven-six gongs and one drum) from coastal Penampang and used by the Kadazan Dusuns there.(This does not include the popular kulintangan).The sompogogungan accompanies the sumazau, a festive and ritual dance like the magarang but slower in tempo. The Kadazan Dusuns also play dunsai, a type of gong music, at funerals.

Kulintangan

Kulintangan

Is frequently included amongst coastal gong ensembles though it is also found amongst interior natives like the Labuk-Kinabatangan Kadazans and the Paitanic peoples (both from the eastern Sabah) who have come into contract with the coastal natives.

These idiophones produce predominantly ritual Music:
The Tatana Dusun of Kuala Penyu (Southwestern Sabah) employ kulintangan music, and sumayau dancing, as well as unaccompanied by ritual chanting in Moginum rites to welcome the spirits.

The Lotud-Dusun of Tuaran (west Coast of Sabah) use gong ensembles in the slow sedate mongigol dance for the seven-day Rumaha rites which honour the spirits of sacred skulls and the five-day Mangahau rites which honour possessed jars.

TOGUNGGAK (Interior Dusuns)
TOGUNGGU (Penampang Kadazan dusun) &
TAGUNGGAK (Muruts).

In older times before gongs were traded into Sabah, the togunggak was used to accompany dancing and in procession. It was and still is made of bamboo, which flourishes in most parts of Sabah. Bamboo is a great source of raw materials for Sabah musical instruments.

The togunggak consists of a series of hollowed out bamboo tubes of varying sizes of the gongs. The music produced is a hollow and rhythmic tung, tung, tung sound of different pitches in each of the different sizes. The togunggak is played by a troupe of a dozen or so people in lieu of the gong ensemble.

HANDICRAFT

Sabah is rich in traditional handicraft, from baskets over hats, to beaded necklaces, musical instruments, textiles and woven boxes. The local people still produce many of them, touching each piece with a bit of their culture, their traditions, their lives.

Baskets are still used by the natives in their everyday lives. Anything, from fruits to firewood and padi stalks is transported in the various baskets, strapped onto their backs, leaving their hands free to carry even more. Made from bamboo, rattan and bark, these baskets have now been adapted for a more commercial demand and model baskets make original souvenirs, pen and pencil holders, as well as vases for dried flowers.

The Rungus, the natives of the Kudat area, have long been known to produce beautiful  beaded necklaces; they wear long, broad multi-stranded pinakol (right in picture) crossed over their shoulders over their traditional black costumes interwoven with gold thread. Patterns on the strands tell of ancient fables, and human figures are picked out in bright hues in the beadwork. Ever-enterprising, the Rungus today produce bangles, earrings and even brooches to go with the necklaces.

The parang is still crafted in traditional ways by the Bajau from Kota Belud. The ones made by them these days are usually from scrap iron, which goes though a process of melting, pounding, shaping and finally polishing. The blades are straight and tapered, from a sharp tip widening up towards the hilt. Some may have patterns etched into the metal along the topside. The hilt and sheath are carved from of wood, and occasionally one can come across an antique parang with a wonderfully carved hilt of horn. In days gone by, the parang was used as a weapon as well as a work tool, but these days it is mainly a decorative item for display. 

Tudung Duang is the local name for a food cover: in the tropics, like in Sabah, food on the table has to be protected from insects and dust. One is instantly attracted to them because of their bright colours, especially when they are laid out on pandan (screw pine leaf) mats in high piles, like at the Kota Belud Tamu grounds on the weekly Sunday Market (tamu).

By the shape of a  native hat, and its patterns, one can immediately identify the wearer to which ethnic entity he or she belongs. Most hats here are steeply conical and have nature-derived designs on them. Murut hats woven from the strips of  sombituon bamboo are hexagonal in shape with a three-bands patterned weaving. Hats from Penampang and Tuaran have wider, circular bases with geometrical designs. All these hats are crafted from bamboo and rattan strips, and the red and black colours used to be natural dyes - red from the mengkudu root or Dragon blood.

MUSICAL INSTRUMENTS

Musical Instruments

Leopold Stokowski once said, “A painter paints pictures on canvas. But musicians paint their pictures on silence.” The natives of Sabah too painted the silence with musical instruments of their own, crafting them out of bamboo, wood and animal skins. The “sompoton” seen here is a traditional Kadazan music instrument made by the Dusun tribes in Sabah. The “sompoton” is made of a double raft of eight bamboo pipes inserted into a dried gourd. They also made other wind, stringed and percussion instruments, including the gong, which is used widely today in any traditional musical performances. 

Baskets, Beads, Fabrics

Baskets

Baskets woven with tree bark, rattan and bamboo are still used by the natives everyday. They use the baskets to carry harvest such as fruits, paddy and other crops, as well as any tools that they need to take with them when they go out to work in a field or the jungles. Today techniques used for making woven baskets have been used to make contemporary products such as stationery holders, trays and decorative pieces for the home. Seen here is the carrier called “wakid“, a basket made by the Dusun/Kadazan people who live at the foot of Mount Kinabalu. The back carrier is cylindrical at the base and has a flared-out top. The body is made from pieces of carefully split bamboo that tightly fit at an elongated base. A pair of shoulder straps made either of woven split rattan or bark cloth complete the form and function of this basket.

Beads

Beaded products made by the Rungus people from Kudat are especially known for their burst of colours and intricate designs. According to tradition, the patterns on the beads knit together represent special meanings and tell a story. Most Rungus beaded products are worn as a part of the Rungus traditional costume, as a loose band of beads worn crossed over the chest and back. Current pieces also function as deco pieces for the home and used as wall hangings. The beaded necklaces seen here are known as “pinakol”. 

Fabrics

Fabrics with elaborate patterns and designs like the “tinohian” woven by the Rungus women of Kudat and the “kain dastar” made by the Bajau take months to complete and are consequently some of the most expensive traditional crafts there is to purchase. The “tinohian” is a heavily embroidered piece while the “kain dastar” is woven with great concentration to detail but they are both similar in that they are both worn on the head by the men of their respective makers. There are many more traditional textiles made by the Rungus, the Bajau as well as the other cultures around the state, each strongly expressing a different ethnicity. 

SIGAR / TUBAU / KAIN DASTAR DAN LIANGKITAN

Sigar/Tubau/Kain Dastar : telah mengalami proses permodenan dengan corak yang lebih moden namun ciri-ciri keasliannya masih terpelihara

Liangkitan: Konsep moden dalam kain Liangkitan masih mengekalkan corak asli.

Tubau atau lebih dikenali dengan Kain Dastar adalah hasil kerja tangan asli suku Kaum Iranun yang diwarisi dari nenek moyang sejak turun temurun. Sehingga kini perusahaan membuat tentunan Kain Dastar ini masih diteruskan oleh Suku Kaum Iranun di Daerah Kota Belud.

Selain Tubau, terdapat juga hasil kesenian kerja tangan asli orang Iranun yang dipanggil "Liangkitan". Biasanya, liangkitan berlatarbelakangkan kain tenunan berwarna hitam dan dihias dengan tenunan benang yang unik merintangi secara membujur dari atas ke bawah. Kain sehelai ini biasanya digunakan sebagai "wrap-skirt" yang semakin popular dikenakan semasa perayaan kebesaran Negeri. Di Zaman moden kini, liangkitan banyak menggunakan kain baldu bagi menggantikan kain dasar atau asas Liangkitan sebagai menyesuaikannya dengan kegunaan moden.

Tidak ramai di antara kita dan generasi kita yang mengetahui bahawa benang, pada zaman dahulu kala, yang merupakan material asli Tubau dan Liangkitan iaitu adalah berasal dari "sabut" atau "serat" daun nenas yang dijadikan benang dan diwarnakan dengan kunyit bagi kuning dan"tursih" (cecair hitam yang dicampur dengan tembakau bagi pemakan sireh tegar) bagi warna hitam dan merah dengan menggunakan kulit bakau atau kayu cendana. Bagimanapun, penggunaan bahan-bahan tersebut semakin pupus setelah bahan-bahan moden mudah diperolehi setelah pengenalan "English yarn" seperti yang disebutkan di bawah ini.

PAKAIAN: Tradisional-Tubau dan Liangkitan-Petikan dari "Publication"

The Bajau are much occupied in preparing salt for the inland tribes. This article is manufactured by burning the wood of the Nipa palm: the residue is then thrown into water, when the ashes are separated from the saline mattcr ; the water is then boiled, and a coarse bitter salt is the result. I t is not disagreeable, after a little use ; and I prefer it to the coarse salt of Siam, in the state that the latter is usually sold. Very little salt is imported even at the capital, except for the purpose of curing fish. The only other manufacture that is worth noticing is that of cloth from native cotton. The most esteemed cloths are those of the Lanuns. The cloth is generally black, with a few white lines running through it, forming a sort of check : it is strong, more durable than any other I have seen, and fetches a high price, varjing from 5 to 10 dols. for a piece sufficient for a single drebs. They are, however, deteriorating, since the introduction of cheap English yarn, which is superseding the carefully-spun native.

“..... The women, especially from Kota Belud, make beautiful embroidered panels sewn into their long black wrap-skirt. Traditional headgear worn by almost every indigenous group known as kain dastar is one of their specialty. The Binadan (from Kudat) is well known for their kain pis, a richly embroidered one-meter piece of two-facing cloth”.

Kebanyakan pakaian tradisional yang dipakai oleh penduduk asli Sabah hari ini adalah penyesuaian moden yang dibuat dari pakaian asal. Pakaian-pakain ini kebanyakannya berwarna gelap atau hitam dan lazimnya dihiasi dengan sulaman dan hiasan tepi yang banyak. Satu ciri pakaian tradisi masyarakat asli yang sangat ketara ialah penggunaan tanjak yang dibuat daripada sekeping kain dastar berukuran tiga kaki persegi yang ditenun oleh suku kaum Iranun di Kota Belud. Apabila ia dilipat dan diikat, kain hiasan kepala atau sigar ini dipakai oleh kebanyakan kaum asli Sabah. 

Even with today’s designer innovations, traditional handicraft has always been a part of the lives of Sabah’s peoples. From functional objects to decorative accessories, the various handicraft made throughout Sabah reflect the culture that they come from.

TUDUNG DUANG

 Tudung Duang

Tudung duang merupakan hasil kraftangan masyarakat bajau Kota Belud Sabah yang kebiasaannya dihasilkan daripada daun serdang, daun kelapa, pandan, dan buluh. Terdapat juga tudung duang daripada daun serdang yang disalut dengan kain baldu. Buluh yang dibentuk bulat akan dijadikan kerangka tudung duang. Tudung Duang akan dicorakkan dan diwarnakan selepas dibentuk dengan pilihan warna yang dikehendaki. Namun ada juga daun pandan atau mengkuang yang sudah diproses dibubuh pencelup dahulu sebelum ia dibentuk dan dianyam.

Kegunaan tudung duang adalah untuk menutup hidangan daripada dihinggapi lalat atau terkena habuk dan kotoran lain. Tudung Duang juga dijadikan sumber ekonomi bagi penduduk di kawasan luar bandar melalui industri desa (cottage industry). Melalui industri desa juga pendapatan penduduk luar bandar dapat ditingkatkan. Malah ada juga masyarakat Malaysia yang menjadikan tudung saji yang berbagai saiz sebagai hiasan di rumah masing-masing.

Pada masa ini terdapat tudung duang atau tudung saji yang diperbuat daripada plastik. Ia diperbuat secara komersial dalam industri pembuatan plastik. Ia boleh didapati dalam pelbagai bentuk (empat segi, bulat, bujur) dengan pelbagai warna. Keadaan ini mewujudkan penggunaan tudung duang atau tudung saji tradisional masyarakat bajau Kota Belud semakin pupus.

PEOPLE AND PLANTS

Barait

These plant portraits come from the Projek Etnobotani Kinabalu, further described below. Feel free to send good quality slides of seeds, leaves and textures that illustrate a project in which you are involved, or of local ethnobotanists with whom you work. We will try to include them in a future issue of the Handbook.

Textures, from a basket (barait) made by Dusun weavers around Kinabalu Park. The framework of the basket shown in the background of the Viewpoints section is made from Calamus ornatus (Arecaceae), a robust rattan palm which grows in primary dipterocarp forests of Malaysia, Indonesia, Phillipines and Southern Thailand.

 The baskets are woven with the stems of a weedy species of Lygodium, a climbing fern common in lowland secondary forests. Barait were originally made from Calamus caesius (Arecaceae), but the design and materials are changing as a response to increasing scarcity of this rattan in areas where there are high rates of deforestation and intensive harvesting of the cane. 

    Baskets made from C. ornatus and Lygodium require less labor than those made from C. caesius, and are in demand by tourists who visit the region. Increased marketing of these baskets is now leading to scarcity of C. ornatus in some weaving communities, and to substitution with other rattan species.

Leaves, from the thatch of a house used for cultivating mushrooms in Kiau, a Dusun community around Kinabalu Park in Sabah, Malaysia. The thatch is made from the leaves of Metroxylon sagu (Arecaceae)

   The palms around Kinabalu Park have been a special focus of the Projek Etnobotani Kinabalu, an ethnobotanical program coordinated by Sabah Parks, the state conservation agency, in collaboration with the Institute of Biodiversity and Environmental Conservation (IBEC) of the Universiti Malaysia Sarawak (UNIMAS), and the WWF-UNESCO-Kew People and Plants Initiative, with support from the John D. and Catherine T. MacArthur Foundation. In creating the PEK, these partners proposed to develop activities that contribute to:   

1. ethnobotanical research, focused on building a team of local Dusun people, park personnel and visiting researchers who study patterns of Dusun classification, management and use of plants; 
2. conservation of pristine areas, by developing the ability of park personnel to assess the ecological, cultural and economic importance of locally used botanical resources and by strengthening links between the park research staff and Dusun communities; 
3. environmental education, by providing research and training opportunities for students from Malaysia and other Asian countries and by enriching interpretive programs and exhibits for the more than 200,000 people who visit the park every year; and 
4. community development, through improving the management of unprotected forests in buffer zones around Kinabalu Park and promoting the viability of Dusun ecological knowledge.   

Seeds? No, these are pellets of sago, the starchy food produced from the stem pith of Metroxylon sagu and other palms in Southeast Asia and Polynesia. The Italian botanist Odoardo Beccari described how it was made during his visit to Sarawak, Malaysia in 1865:

5.            ‘The operation of “tindjak,” or washing, is performed by placing the pith in the mat or basket, and treading it steadily with the bare feet while an assistant pours water over it from time to time. Even the pails used for this purpose are constructed from the sago palm. They are conical in shape, and are made from the thin laminar and coriaceous portion of the base of the fronds where they encircle the stem. 

6.      This method of treading the baskets with the feet causes the stuff expressed to be carried off by the water through the meshes of the mat or basket, and to collect in a vessel placed beneath, which is usually a small canoe. Here it settles down, and after the water has been drained off constitutes what the natives call “lamanta.” After it has been dried and reduced to a granular form (pearling) it becomes the sago we all know.’ 

CERITA KRAFTANGAN SABAH

Sabah merupakan negeri kedua terbesar di dalam Malaysia, Sabah terletak di Utara Pulau Borneo. Gelaran negeri di bawah bayu,sabah memiliki kelebihan dari pelbagai aspek kehidupan masyarakat . Sabah tidak sahaja kaya dengan keindahan semulajadi malah kaya dengan kebudayaan dan kesenian masyarakatnya.Masyarakat majmuk di sabah membolehkan kita menikmati keunikan dan keindahan yang terdapat di Sabah.Walaupun Sabah kaya dengan kesenian dan kebudayaan terdapat juga perbezaan yang ketara antara satu sama lain. 

Barait

Fungsi kraf tangan yang dimiliki masyarakat asli di sabah asalnya bertujuan untuk melindungi/berteduh,menutup tubuh dan mencari makanan dengan cara yang terbaik sekali .

Mereka menghasilkan pelbagai jenis barangan tetapi lebih menumpukan kepada fungsi barang tersebut tidak kepada perhiasan . Benda-benda yang dihasilkan meliputi kelengkapan rumah,alat buruan,alat pertanian dan upacara ritual atau keagamaan. Penghasilan kraf tangan mereka bergantung kepada sumber alam semulajadi dan keperluan dari budaya mereka. 

Sirung

Kraf tangan yang dihasilkan oleh penduduk

dari berbagai-bagai budaya mempunyai jenis-jenis  yang luas. Sebagai contoh, penduduk pesisiran pantai yang penghidupannya bergantung pada laut telah menghasilkan alat yang berbeza dari penduduk pedalaman yang masih mengamalkan penanaman padi huma atau padi sawah dan memburu serta menangkap ikan sungai. Perbezaan juga wujud di antara kebudayaan kebendaan penduduk yang mengusahakan padi sawah dan padi huma. Perbezaan bukan sahaja terdapat pada alat-alat ‘utilitarian’ tetapi juga benda-benda ritual, alat-alat muzik dan ciri-ciri kebudayaan kebendaan yang lain.

Sompoton

Keadaan  bahan-bahan tempatan juga mempengaruhi jenis kraftangan yang dihasilkan. Di daerah Tambunan, sebagai contoh penggunaan buluh untuk membuat perkakas rumah, bakul, rumah (termasuk atap) dan pagar sangat luas di kalangan masyarakat Dusun/Kadazan Tambunan.  Labu pahit yang terdapat di tambunan telah menjadikan daerah ini sebagai pusat pengeluaran sompoton, sejenis organ mulut yang diperdagangkan di kalangan kumpulan dusun, walaupun ia juga ada dibuat di tempat-tempat lain. Rotan yang merupakan satu lagi bahan yang tahan digunakan dengan luasnya untuk membuat terendak, bakul, hiasan dinding dan juga pengikat kayu atau buluh. Bahan untuk membuat pakaian tradisional juga diperolehi daripada tumbuhan tempatan, termasuklah kulit kayu, kapas atau gentian tumbuhan daripada nanas, pisang atau kelapa.

Sumpit

BARAIT

Barait – Traditional Bag

Barait, bolehlah juga dikatakan sebagai Beg Tradisional untuk kaum KadazanDusun & Murut kan. Barait mempunyai pelbagai kegunaan terutamanya untuk mengangkat barang-barang. Barait bolehlah juga dikatakan sebagai Beg Serbaguna untuk Kaum KadazanDusun & Murut suatu ketika dulu.

Barait diperbuat daripada kulit rotan khas yang tumbuh berhampiran dengan anak sungai. Rotan tersebut dihiris-hiris dalam saiz yang dikehendaki sebelum dianyam. Saiz Barait ditentukan mengikut kepanjangan rotan yang dihiris, dan jumlah rotan yang dihiris. Proses pembuatan Barait mengambil masa lebih kurang 3 hari hingga seminggu. Proses pembuatannya bukan lah mudah dan hanya orang-orang tertentu sahaja yang mempunyai kemahiran.

Terdapat beberapa kegunaan Barait. Antaranya adalah:
1. Untuk mengangkat hasil tanaman seperti halia, jagung, Gorouk, Tawadak dan sebagainya
2. Untuk mengangkat hasil buruan seperti Bakas, Kijang, Tomuning, Bulukun dan sebagainya.
3. Paling penting, untuk membawa KOKORI  WAIG LIHING mau p Kebun..
Dan banyak lagi. 

Barait nopo nga sinintunturu winonsoi mantad tuai. Haro barait di kisompon om haro nogi it poingarawang (ingaa sompon).

Kogunoon nopo do barait nga pangarangkat do nunu nopo miagal do tonsi mundok, tonsi do buru-buru, sada, parai om nunu nopo iy milo do porumposon.

Koubasan dii mongigintalun momoguno do bakakuk (sinapang) nopo nga mogoit do barait iy sinuangan do pinulu, bungkusan toi sigupan om kokoriu miagal do sonlopot takano toi wagas. Suai ko ilo, haro nogi dangol atarom do obilon. Tagal mogowit do lanjang tu iri wulu nga milo nogi pagansakan do takano.

Nung haro nopo okito do buru-buru, timbakon no iri. Olumaag nopo nasip, haro nodi boboon do muli, nga andang noh do mongintalun, somonu do muli kampis barait.

Bakul

 Bakul

 Barait

 Barait, Wakid dan Basung

 Barait keningau

Barait Tenom

UNTUK MEREKA YANG BARU BERTEMU DENGAN BLOG INI

SELAMAT MELAYARI BLOG SABAH HANDICRAFT COLLECTION KEPADA ANDA YANG BARU SAHAJA MENJUMPAI BLOG INI. DI HARAP ANDA SEMUA MENDAPAT MAKLUMAT MENGENAI HASIL KRAF TANGAN ETHNIK DI SABAH DAN SARAWAK KHUSUSNYA DAN DI MALAYSIA AMNYA.

ANDA YANG BERMINAT UNTUK MEMBELI  KRAF TANGAN UNTUK DIJADIKAN KOLEKSI PERIBADI ATAU UNTUK HADIAH DAN CENDRAHATI BOLEHLAH DATANG BERKUNJUNG DI PERMIS SABAH HANDICRAFT COLLECTION.