Located at The Annexe Gallery of Kuala Lumpur’s Central Market, it houses a fascinating collection of tribal masks, statues, and other woodcraft.
These artefacts, dating back to the 1990s, were sourced from the remote areas of Sabah and Sarawak by the museum’s founder and avid art collector, Leonard Yiu.
Speaking to FMT, Yiu said he has always been intrigued by tribal art, and how the many talented craftsmen living in the dense jungles of Sarawak and Sabah, perceived art.
“Borneo art dates back to thousands of years. There’s so much detail and dexterity given to the handicrafts that these people produce. Not just that, its features are so distinctive from the art in Peninsular Malaysia,” Yiu said.
The Puchong-born art enthusiast said he used to frequently travel into the remote recesses of rural Sarawak, Sabah and Kalimantan in search of unique woodcraft.
He said that those were adrenaline-fuelled times that he derived much happiness from as it opened his eyes to the beauty and depth of tribal art and the need to preserve it for other generations.
After his many trips, it struck him that he wanted to be a dealer – to purchase and sell art to like-minded people. The decision to open his own art gallery materialised much later in 2009.
FMT took a tour of the Borneo art section of the museum where rows of tribal masks adorn the walls. These masks were crafted by the Kayan, Pasir Mas, and Modang tribespeople, discernible by the colours and shapes they use in their work.
One particular mask stands out – long, pointed ears, large hypnotic eyes and flaring nostrils. According to Yiu, this mask was worn by a religious or mystical expert known as a ‘shaman’ to perform exorcisms on those possessed by evil spirits.
“This particular one was worn by a shaman in the Kalimantan area. And it’s interesting to know how his creative mind could design something so intricate like this.
“And after the exorcism is performed, the evil spirit is then caught and put into a boat-like wooden structure, to be shipped away, or thrown into the jungle,” he said.
If you’re a fan of Guardians of the Galaxy, you’ll be surprised to see a huge Groot-lookalike from the movie. He is much larger and taller than the extra-terrestrial tree monster though, with his head tilting to the right.
According to Yiu, this structure is known as a ‘Hampatong’ or guardian who watches over the village and its inhabitants.
“This structure is so special to me. Once, a tourist offered me a hefty sum for it but I refused the money as it’s a rarity now,” he said.
Also on exhibit are the many beaded baby carriers that captivated Yiu during his early visits to East Malaysia.
Pointing to them, Yiu said these woven carriers depict the pride of the Kenyah tribal women. Each design bears the motif of a ‘protective spirit’ expertly woven into the design.
“For aristocratic families, such as the shamans and village heads, the baby carriers bear the full images of the protective spirit. This changes when it comes to the common pheasants, where only part of the spirit is highlighted,” he said.
Elaborating, Yiu said the carriers marked how elaborate or complex one’s design differed from the rest, often giving an indication as to a girl’s social status and wealth.
Interestingly, women who showed great craftsmanship were often regarded as role models, and enjoyed a high matriarchal status in society.
“Tribal art is part of our art. And it transcends boundaries, races, and even social status. If we don’t appreciate our country’s art, then who will?” he asked.
Yiu also gives guided tours upon request. And he’s even written a book on his vast collection of tribal artefacts called “The Magic and Art of Borneo.”
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Art House Gallery Museum of Ethnic Arts
Lot 3.04 & 3.05
Level 2, Annexe Building
Central Market
10, Jalan Hang Kasturi
50050 Kuala Lumpur
Entry fees: RM5.00
Business hours: 11.00am to 6.00pm
Contact: Leonard at 012-3886868