RWMF The festival also features other Southeast Asian traditional musical instruments, including the Khaen (a gourd organ typically played in Northeastern Thailand and Laos), the Gambus (an Arab lute that is commonly played in traditional Malay and Indonesian music), the Genggong (a type of jaw harp originated from the Riau islands). And from the zither family, there is the Chakhe from Thailand as well as the Kecapi from Indonesia. Apart from these instruments, Southeast Asian performers enrich festival goers with other music experiences. For instance, the Orang Ulu and people from the different parts of the Philippine archipelago have a strong choral tradition. Led by a soloist, the group will in turn join in and harmonise seamlessly together in the chorus. One of the many workshops at the Sarawak Cultural Village held during the festival Beyond the music performances, festival goers are in for a visual treat for all three days from the beginning till the end. The clear blue sky acts as the backdrop to the soothing views of tall trees and shrouded green hills as one enters the Sarawak Cultural Village. Surrounding the lake inside the village are the traditional homes in the different earthy brown hues of the timbre and the dried leaves on the roof that help to break away from the monotony of the large green landscape. Delving deeper into the different houses, more colors emerge from bamboo carvings and painted wooden walls as well as colorful threads at the weaving looms. A native performer with his Sape on stage at the festival Lokalocal There are many musical instruments indigenous to Sarawak that are played at the festival, including the Sape lute, the Selingut (bamboo nose flute), the Ruding (a Bornean jaw harp) and the Bidayuh long drum. Most famous of all and quintessentially Sarawak, the Sape is a plucked string instrument of the Orang Ulu (known as ‘upriver people’ who are mainly ‘Kayan’ and ‘Kenyah.’) It is carved from a block of wood or a tree trunk with two strings for melody and the accompany string acts as rhythmic drones. It is said that the Sape is best enjoyed in a quiet evening sans any other noises aside from the little chatter amongst friends. Its gentle melody has the power to touch the heart of even the most hardened. At the festival, one can learn to play the Sape from the Orang Ulu or the musicians themselves. One will also realise that each Sape is unique in its design since the Sape is decorated accordingly to its owner’s preference. Some may choose to just have a simple carving; others may incorporate various colors into the design. In the daytime, communal workshops are conducted in various houses to engage festival-goers and further enhance their local experiences. They can partake in group performance with the artistes, learn how to play the different and unique musical instruments, attend lifestyle and wellness classes, or pick up traditional dance lessons and handicraft of the indigenous tribes. At many workshops, fine arts and crafts from Sarawak are displayed, including carved pottery, Orang Ulu’s refined bead works of necklaces, Orang Iban’s traditional costume, and the Bidayuh’s Kesah, a mat known for its durability. On stage, both local and international musical acts adorn their traditional colorful clothes accompanied by their musical instruments. One could not miss the Sarawakians in action in their indigenous tribal wear and their head ornaments made of intricate bead works and bird feathers like pheasant or hornbill. Other than that, the silver headgear worn by many Orang Iban ladies makes them sparkle like a jewel as they move gracefully whilst dancing on stage. The Rainforest Music Festival recently concluded its 21st edition on 13-15 July 2018 with the attendance of more than 20,000 people, young and old, from all walks of life. Despite bright laser lights and animated multimedia effects that accompanied stage acts, traditional music performances remained the star of the weekend. From At Adau’s energetic performance with the Sape mashed with drums and electric guitar that got many on their feet screaming and singing together to the Philippines’ Grace Nono’s melodic yet powerful vocal accompanied by sacred voices and instruments from communities in Luzon, Visayas and Mindanao. It is a beautiful sight watching young ASEAN musicians on stage playing our traditional music in our native landscape. The Rainforest World Music Festival continues to be the valued venue to preserve the diverse, colourful and unique cultures and traditions not only of Sarawak but Southeast Asia as well. Ms. Nur Aziemah Aziz is Research Officer at the ASEAN Studies Centre, ISEAS-Yusof Ishak Institute. 25 — ISSUE 5/2018