Contents

2 editorial 3 A Word From the

sarawak Craft Council

6 Rainforest World Crafts Bazaar 2009 t-shirt Design - the Results

8 Behind the Crafthub Jewellery Collection

10 Rattan - the Flexible Cane

13 A Page of History 14 What’s on In the

World of Crafts

CRAFts is published by Crafthub sdn. Bhd. for the sarawak Craft Council (sCC). opinions expressed by contributors to CRAFts are not necessarily those of the sCC or Crafthub. the contents of CRAFts may not be reproduced in any medium without prior written permission. Feedback is always welcome, write to us sarawak Craft Council, sarawak Handicraft Centre, Round tower, Lot 32 sect 25 KtLD, Jalan tun Abang Haji openg, 93100 Kuching, sarawak, email crafthub@gmail.com or visit our website www.crafthub.com.my

Would you like your craft event to appear in our What’s on… free listing? Would you like to advertise at very reasonable rates? email Freya at: crafthub@gmail.com

editor: Heidi MunanPublication Managers: Donald tan and Freya MartinContributors: Lucy Abey, Reynold Ahviet, Annette Bessant, Mary MargaretPrinted by Bahagia Press sdn Bhd, Lot 225 section 49, Jln Padungan Utara, 93100 KuchingPublished by Crafthub sdn Bhd, 1st Floor, 96 Main Bazaar, 93000 KuchingIssn 1985-7357Cover: Iban lady in Ulu Lemanak preparing for mat-making. Photo by Heidi Munan.

the last few months have been tough going for most people, in all parts of the world. Countries, businesses and private citizens have had to cut expenses, reduce demands and expectations, and make do with what’s available.

the craftspeople and artisans are no exception. Many of them belong to the lower income group which is particularly vulnerable to an economic downturn. But those among them who manufacture their crafts out of natural materials enjoy a minor bonus: the materials are locally available.

some of sarawak’s best-known crafts are made from organic material: vines and creepers, woods, barks, seeds, roots, dye-plants, tall grasses like bamboo. these things grow out there, in the jungle or secondary scrub right behind the village, free for all to pick…or so one would expect.

Increasing population density, more organized agriculture, expanding towns and communication networks, are slowly pushing the ‘forest boundary’ away from human settlements. the bemban that used to grow near the village was uprooted when the road was widened and improved. Rattan has been stripped from the trees and sold to a dealer in town by the lorry-load. Basket-makers in the villages complain that they have to trek a long way to find good bamboo.

That’s when the tough get going. It’s getting more difficult to find and harvest them, but the handicraft materials are still there. the comparatively few rural people who took the trouble to plant and nurture rotan, bemban, pandan and the like now reap a bountiful harvest in more ways than one! these materials are free, except for the expense in time and labour.

that’s more than can be said for imported craft materials, which regularly increase in price. Skilled fingers can make beautiful items out of glass beads, gold and silver wire, semi-precious stones, silks and velvets, fine ceramic clays, modelling paste in many colours, art papers or metal foil. But…all these things have to be paid for, in cash.

Basketry-workers have discovered a new trend: recycling. old newspapers are twisted into fine working strips, and plaited or woven into various items of use and beauty. the old skill comes in handy – if a girl can make a rattan basket she can make a paper-

strip one! the comparatively soft material has to be stiffened, usually by painting or spraying it with varnish of some kind, but the fashion is catching on.

Plastic, seen as one of the most environmentally destructive materials, can be recycled too. In sarawak this takes mostly the form of rough carrying baskets made of pastel-coloured packing strips; nobody has started making new items out of molten-down plastic. Crafthub and the sarawak Craft Council would welcome any suggestions, preferably of the practical kind, that will help our craftspeople put their skills to a new, eco-friendly use!

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Recycled newspaper basket. Photo by Annette Bessant

Pacific Islands children recycle water bottles to make a raft. Photo by Susan Barlow

Special Entry RateRM15 per adultRM5 for children in school uniform

by Reynold Ahviet

A word from...The Sarawak Craft CouncilHi there, this summer will be an exciting one for all of us as it is time for the second annually organized Rainforest World Crafts Bazaar, which will be held in conjunction with the three-day Rainforest World Music Festival at sarawak Cultural Village, near santubong from 8–12 July. In looking forward to this awesome event, we take great pleasure in introducing to our dear readers some of the craftspeople who will be making an appearance over the five days of the Bazaar.

Mr Edwin Sinjan When it comes to bamboo products, edwin is one of the most sought-after craftsmen in the region. He works at home at Kampung Pichin in serian, where he has his own workshop. This gives him great flexibility in terms of time to craft his products. edwin turns the raw bamboo into coin boxes, flutes, table lamps and wallpaper – it’s definitely worth checking out his booth during the Bazaar.

Mr NikiHailing from Petra Jaya, Awang nikhaszahar Bin Awang Ibrahim, better known as “niki” is a 37-year-old artist who is often the centre of public attention on the Kuching Waterfront at the weekend. niki, who started painting seriously when he was 15 years old has chosen the hornbill as the iconic image in all his paintings, which also depict the beauty of the state of sarawak at the same time. At the Crafts Bazaar, niki will be selling and exhibiting some of his best works. oh, and by the way, don’t worry, niki’s paintings will be small in size because he knows it’s such a hassle to take home a big painting.

Mdm Ester SiredMdm ester, who resides in Kampung semaba, is one of the leading ladies of the local craft scene. she started getting into the crafts line of occupation back in 1978, after she was inspired by her mother who was also a gifted craftswoman when Mdm ester was a young girl. she once told me that during her mother’s time, the price for a bamboo basket was only 30 sen. As for the forthcoming Bazaar, she will be selling a mixture of craft products, but she will be focusing particularly on tree bark crafts. For readers who wish to check out her crafts at other times, she sells them every weekend on the Kuching Waterfront.

Mdm Elizabeth LirangA Kenyah lady from Long Apuh, Baram, Mdm elizabeth’s only passion is making bead products. At first, she started small, working in a craft shop, but this soon sparked her fire to start her own business. Mdm elizabeth is much

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The Sarawak Craft Councilthe sCC promotes the state’s ethnic handicrafts, both to preserve a priceless artistic heritage and to improve the artisans’ livelihood. the predominantly rural craftworkers now have a realistic option to augment their income from agriculture.the Craft Council coordinates the activities of government and private entities involved in handicraft development in sarawak.

Mission Statementthe sarawak Craft Council provides leadership in the development and enhancement of the handicaft industry in sarawak.

Objectiveto develop the handicraft industry into a more coordinated and progressive enterprise that will complement the needs of the tourism industry.

The SCC building above, situated next to The Old Courthouse in Kuching, has a quality crafts shop on the ground floor which is open from 8.30am-4.30pm, Monday to Friday.

more focused on beads compared with other crafts and she will custom design her own necklaces, bangles, baby carriers and so much more. To find out more about her crafts be sure to come to this year’s Rainforest World Crafts Bazaar from 8–12 July.

And don’t forget, the sarawak Cultural Village have kindly agreed to offer a reduced admission price of RM15 to local residents on the 9 July only. so see you all there and let’s start craft hunting!

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this year’s competition saw an impressive range of entries from swinburne, Unimas and Limkokwing – 22 tertiary students submitted 33 designs for consideration.

the team of judges had backgrounds in art and design, sarawak culture and handicraft promotion, and tourism development. they deliberated for several hours before finally selecting four designs for sale as official Rainforest World Crafts Bazaar collectables.

“the general standard was excellent,”, was the consensus; “in fact, it was hard to choose the four finalists!”

Apart from the obvious instant appeal of the design, other factors played a part in the selection. It was important to have representation of a handicraft and as this event is part of the Rainforest World Music Festival a number of entries featured our unique instrument the sape. other favourite themes were orang ulu motifs and creatures of the forest. the hornbill, a symbol of sarawak was also featured, with one of the finalists choosing to depict this beautiful bird in a stylized design making it both dramatic and appealing.

entries were featured as designs on both black and white t-shirts. Last year, black t-shirts were by far the most popular and the colour green the most used. this year, in addition to green, we see the introduction of a vibrant orange which works very well with a black background.

T-shirt Design Competition – The Results

siaw Quen Cheng chose the hornbill as a striking symbol of sarawak, Kenan based his design on traditional Iban tattoo marks. Christina and tang sing Moi featured sarawak’s iconic instrument, the sape, to symbolize music and the state’s well-known woodcarving. “I want to show the uniqueness of sarawak’s handicrafts!” tang commented.

by Annette Bessant

Kenan Wibowa’s winning design based on Iban tattoos Christina’s striking sape design

tang sing Moi’s vibrant sape and mask design

siaw Quen Cheng’s stylistic hornbill

Datuk Gramong Juna presenting tang sing Moi with her award of RM500. Photo by Freya Martin

Caption l to r: Kenan Wibowa, siaw Quen Cheng, tang sing Moi and Christina Buyang Gindau. Photo by Freya Martin

The four finalists, Siaw Quen Cheng and Kenan Wibowo of Limkokwing University, and Christina Buyang Gindau and tang sing Moi of UnIMAs, were presented with their awards by Datuk Gramong Juna, Chairman of the sarawak Craft Council during a simple ceremony on the 14th of May.

Datuk Gramong expressed satisfaction with the standard of the winning designs. “It’s good to see that young people put their education and talents to promote our culture!” he said. “that’s one of the functions of the sarawak Craft Council, to encourage each generation to interpret its heritage anew. that’s how it will be preserved. the forthcoming Crafts Bazaar, which is held in the middle of an exciting music festival, is a good example of how we combine modern and traditional values. As long as our young people are interested in the old culture, it will live on!”

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each piece of jewellery in the Crafthub booth is handcrafted. It’s a story about five ladies putting their heads together.

De Gayantina thamrin from Bandung, Indonesia has been a very delightful presence in Kuching since 2000. At the Rainforest World Crafts Bazaar 2008, De was a volunteer answering anyone’s call for help. the unusually designed costume jewellery pieces she sported didn’t escape the attention of Crafthub’s Annette Bessant and Cynthia Lobato. they uncovered De’s talents in designing and making jewellery.

For the first time this year, De’s creations are included in the Crafthub booth at the RWCB. Last year, Ann Wong and I created several pieces for Crafthub. our works will appear again in the Crafthub booth this year.

De lived in Hawaii in 1995–1997 when her husband was a student there. she worked part time with a jeweller in Honolulu, picking up jewellery-making skills. When she went back to Indonesia, she resumed lecturing in urban planning. once in Kuching, De picked up jewellery making again. she does it as a hobby, or in the name of friendship. Whenever her friends persuade her to part with her creations, De only expects them to reimburse her the cost of materials used.

Ann Wong ‘stumbled’ on jewellery making to occupy her time after completing her graphic design studies. she refers to the earliest jewellery pieces she made as ‘child’s play’. she stayed on in the UsA for seven years and made a considerable number of interesting pieces. Ann is now home in Kuching. She finds time to make jewellery basically because she enjoys it. one can buy most of her creations, or commission her for custom-made pieces.

Ann and De use pearls, gem stones, semi-precious stones, mineral stones, crystals, and quartz for both dressy and casual jewellery. sometimes, they include glass beads, corals, and seed beads for the more informal creations. They use fine metal wires and delicate metal chain links, ranging from stainless steel, rhodium and silver, to gold. However, both favour silver because they find it easier and more interesting to work with.

Many of Ann and De’s creations come in sets of choker or necklace with earrings. But their jewellery can also be used as separate pieces. each piece of Ann and De’s handcrafted jewellery is vibrant, elegant and charming. they range from delicate to chunky, meant for all seasons.

by Lucy Ang-Abey

Ceramic and wood beads combinations on adjustable cotton cord, worn as choker or necklace (extended to varied lengths)

De with some of her and Ann’s pieces. Photo by Cynthia Lobato

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However, some prefer custom-made jewellery. Both Ann and De happily take up the task because the challenge to their creativity is great. And it’s highly satisfying in the end, for both the creator and the wearer.

De points out that custom-made jewellery requires the designer to understand the client’s personality, budget, preference of materials, and where she intends to wear it. that’s why before De designs a piece of jewellery, she spends time talking with the client.

Ann’s reference to her early jewellery-making as ‘child’s play’ was a loud click, opening my mind’s door. Jewellery making is an extension of my childhood games, an expansion of my ‘toys’. Yes, I consider doing my crafts work as playing games, and all my craft materials as my toys.

My mother always made sure I had a rather expensive, beautiful doll to play with. so I made necklace, bracelet, and ring to complement the frilly, lacy doll’s dress. My mother taught me how to remove seed beads from her worn-out slippers with a sharp razor blade, cutting off threads from the beads. My very early creations, way back before I started schooling, were such salvaged beads strung on sewing thread. And I used metal hooks and eyes, salvaged from old dresses, as clasps.

As I was growing up, I strung bead necklaces and bracelets for myself and friends. I especially enjoyed recycling and redesigning, turning band earrings into rings with dangling beads, and clip-on earrings for sweater guards. I also redecorated buckles, turning them into brooches and decorative bars for my plain shoes.

With that background, you’ll understand why I make what I make.

now I concentrate on making chokers and necklaces. Very rarely would I use wire and chain. I prefer using strings and cords because they make it easy for me to design and redesign my work. I often dismantle a completed piece to come up with an entirely different one, as if it’s metamorphosed.

Producing a choker-necklace using cords, ceramic beads combined with other kinds of beads is a big challenge. the materials are so ordinary and look so unpretentious. the end-products have to be attractive enough to be noticed and appreciated. they have to be inexpensive with a tasteful, elegant appeal.What you see in the Crafthub booth is a range of beads on extendable cords that one adjusts to the length of a choker or a necklace. It’s what I describe as the ‘t-shirt and jeans’ class of accessory. But I noticed lately that such choker-necklaces adorn necklines beyond those of the t-shirts.

Annette and Cynthia give De, Ann and me very useful comments and suggestions in the process of our jewellery making. their encouragement has been a pleasant driving force for us to willingly experiment and try out our combined ideas.

In fact, Annette’s background as a ceramic artist has quietly taught me to look at each ceramic bead with a fresh mind. With my little understanding and limited experience in ceramic bead making, under Annette’s tutelage I appreciate each bead as a thing of honest beauty.

Cynthia’s enthusiasm for each piece of jewellery we show to our group of five boosts our confidence. She always reacts like an excited customer ready to buy up everything we show her.

Ann’s creations: (left) dangling earrings of ceramic fern (midin) and turquoise beads; (centre) dangling earrings of garnet and amethyst beads; (right) choker with matching dangling earrings, featuring ceramic fern (midin), contrasting red coral beads and turquoise beads

At the RWCB 2009, the Crafthub booth offers a wide range of hand-made costume jewellery. And there’s a special edition of jewellery which features fern tips, locally called midin. De, Ann and I have designed these pieces especially, one result of five ladies putting their heads together.

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by Mary Margaret

A walk through a handicraft bazaar is revealing. We see baskets and mats, handbags and jewellery, coin purses and more baskets and more baskets. these items which have found their way onto our ‘must have list’ have their origins in tradition.

Rattan, the anglicized version of the Malay word rotan, is used extensively to produce these works of art. Baskets and mats link us to a world and a tradition that is generally beyond the experiences of city dwellers, and to the jungle.

Rattan is a member of the palm family, Arecaceae. there are 2,686 species in this mainly tropical family and of these, 650 are climbing palms. In sarawak, any climbing palm is by definition a rattan, but not all rattans are climbing palms. the genera found here are: Korthalsia, Plectocomia, Plectocomiopsis, Ceratolobus, Daemonorops, Pogonotium, Retispatha and Calamus.

of the 101 species found in Malaysia, only about a dozen are utilized. Despite being considered a minor forest product, the international rattan trade is worth millions. there is great demand for cane furniture, walking sticks and baskets.

Indigenous CraftworkersMany indigenous peoples in sarawak have traditions of working with rattan, and the Penan produce fine baskets and mats.

traditionally the Penan have been a nomadic people. the Western Penan live predominantly in the interior of Belaga District and the eastern Penan live in the interior of the Baram District. the jungles of sarawak provided food and the materials they needed – virtual supermarkets! now, most Penan groups grow padi, but they still depend on the forests for much, including the rattan they use to weave baskets and mats. (note: Indigenous terms used in this article are those of Western Penan.)

the Headman of the Penan community of Long singu, Plieran River, Belaga, shares his knowledge on the species of rattan used, and describes the steps involved in preparing it for weaving.

Ethnobotanyseveral types of rattan (laka) are identified according to quality and application.

• Latek is a Grade 1 rattan and is used to make the finely woven mats with intricate designs and the finely woven ajat baskets which also have detailed designs.

• Sega’, a Grade 2 rattan, can also be used to make these products.

• Sedingan is used to make expendable baskets, gaweng, that are woven from fine rattan strands.

• Semut is used for coarsely woven mats for drying padi. other types of rattan are suitable for heavy duty uses.

• Bawang and saput are used to make the traditional backpacks, kivah. Heavy goods are tied into these for carrying.

• Saput is used for two types of baskets called bukui and bukui gang. these are expendable baskets that are made from rough, thick strands of rattan. Bukui gang is a durable basket and is used to carry belongings such as farming tools.

• Mui is used for tying and it can also be used to make kivah and bukui.

Rattan in flower

Rattan cane on the jungle floor

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ProcedureThe first step in preparing rattan for weaving is to collect it from the jungle.

the length that the canes are cut into depends on the product for which they will be used. the unit of measurement used is the depa, which is the length indicated by the span of both arms outstretched and is roughly the equivalent of 1.8 metres. the cane is cut into lengths of 1½ depa for large mats, 1 depa for large ajat baskets and ½ depa for small ones.

then the cane is split, memila. the number of splits depends on the end product. each length of cane is split into 12, 10,

8, 7, or 6 strands. Following this, the inner pith of the rattan is removed. this process is called menyalit.

the rattan strands are then dried. once dried, the rattan strands are shaved, mengatem, along either side, so that all strands are of a standard width. the strands are thinned, meki; this process makes each strip smooth and more flexible.

the rattan strips may be dyed black with natural dyes before weaving. the dyes are from leaves known in Western Penan as sepera, ilem and savit asá. the strands are boiled with the leaves for at least three hours. then they are mixed with black soil and left to dry for 24 hours. next, the strands are removed from the soil and dried.

The final step is to weave, menyam, the basket or mat.

this is a brief description of the process that rattan goes through in its transformation into the works of art that are admired and used.

Finely woven ajat basket, gaweng

by Lucy Ang-Abey

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Bazaar Day In North Borneo

A Page of History

the scene in a large market like tamu Darat in tempassuk District is most animated. The first arrivals on the ground are usually the Chinese traders from the shops, and the Bajaus an Illanuns from the coastal villages. Both Chinese and natives ride up to the market, the usual mounts being buffaloes, bulls, cows or ponies. on arrival the Chinese busy themselves in arranging on their small palm-leaf-roofed stalls a choice assortment of such articles as are likely to attract their Dusun customers; cloth, matches, beads, gambier, buttons, small tin lamps, cheap tobacco-boxes, looking-glasses, knives and scissors, cotton thread, needles, kerosene oil, cooking pots and other odds and ends, nearly all of which are cheap, nasty, and made in Germany.

The Bajaus and Illanuns unload sacks of small dried fish, shell-fish, fresh fish of various kinds, packages containing native-made salt, native-woven head-cloths, cooking- and water pots of reddish coloured clay, partly varnished over with gum.

the Chinese, Bajaus and Illanuns, being more sophisticated than the Dusuns, need to be kept strictly in order to prevent them from cheating the latter; consequently they are given one half of the tamu ground and are separated from the Dusuns by a rope stretched across the market until the signal to begin trading is given by the native chief in charge, who hoists the Government flag to declare the market open.

the Dusun from a distance usually time themselves to arrive at a point on the up-stream side of the ground the previous evening. Here they meet together and exchange news, discuss the padi crop, plan buffalo-thieving expeditions, and cook their evening meal. the next morning they come leisurely down to the market.

the weapons which nearly every man carries are left outside the market ground proper in charge of a policeman who assists the native chief in preserving order.

on entering the tamu each group of Dusuns goes to a spot assigned by custom to their particular village. Near a fallen tree you will find the tiong people from Ulu tuaran, who bring with them the ornamental brass rings which Dusun women wear on their rattan-girdles, and which they are adepts in casting. Under each tree are the people of a different village, some bringing tobacco in the large carrying baskets known as bongwun, others with piles of native hats made of split and woven bamboo or rattan, tastefully ornamented with coloured patterns. others have brought great loads of white or amber-coloured gum; a few women are arranging cooking pots for sale, made of a coarse grayish-looking clay mixed with sands. Perhaps in the hands of one of the up-country natives may be seen one of those curious and sweetly toned Dusun ‘organs’ (sempatan) made from a gourd and fitted with bamboo pipes.

Ivor H. N. Evans (1886–1957) served a short stint as administrator with the North Borneo Company in what is now Sabah. He later worked at the Perak Museum, and retired to Labuan Island. His books on the anthropology and archaeology of the region are occasionally criticized as ‘unscientific’ by modern scholars, but they contain a wealth of carefully recorded information, written in an eminently readable style. The above extract is from his book, Among Primitive Peoples in Borneo, Seeley Service & Co. Ltd., London,

1922; reprinted by Oxford University Press 1990.

the Rainforest World Crafts Bazaar is no innovation! It is the revival of an old trading custom, as described by Ivor H. n. evans nearly 100 years ago.

An image of market day from oscar Cook’s ‘Borneo the stealer of Hearts’, published by Houghton Mifflin Company, Boston & New York, 1924

Modern market. Photo by Hermann scholz

WHAT’S ON… in the WORLD of CRAFTSsARAWAK RAINFOREST WORLD CRAFTS BAZAAR8–12 JULY 2009sarawak Cultural Village, santubong nr Kuching

KUCHING WEEKLY CRAFT MARTevery Friday – sunday at the Waterfront

MIRI PERMANENT CRAFT MARTat the Handicraft Centre, Brooke Road

Rest oF tHe WoRLDJuly 3–5INTERNATIONAL CERAMICS FESTIVALVenue: Aberystwyth Arts Centre at the University of Wales, Aberystwyth, UKInfo: www.internationalceramicsfestival.org

August 7 – October 9GOJOZAKA POTTERY FESTIVAL Venue: Gojo street and elsewhere, Kyoto, JapanInfo: www.kyoto.travel/events

August 8THAICRAFT FAIRVenue: Jasmine City Bldg, 3rd floor, Sukhumvit Road, Bangkok, ThailandInfo: www.thaicraft.org

August 21–23CAIRNS INDIGENOUS ART FAIR Venue: tanks Art Centre, Cairns, Queensland, AustraliaInfo: www.ciaf.com.au

September 10–13NEW ZEALAND CRAFT & QUILT FAIRInfo: www.craftfair.com.au

September 23 – November 1CHEONGJU INTERNATIONAL CRAFT BIENNALEVenue: Cheongju, south KoreaInfo: www.cheongjubiennale.or.kr

our stylish KAFtAn comes in a dazzling range of colours; from vibrant to subdued to elegant and all in striking fabric designs. each piece of material is carefully selected and cut according to the flow of the fabric pattern to show the best of the design. they are then lovingly home-sewn and specially modified to allow several typing styles thus giving a modern and fresh look to the traditional outfit.

Contact: Fun +6012 2005685, funzkaftan.blogspot.com, funz.kaftan@gmail.com

See you at the Rainforest World Crafts

Bazaar (8th -12th July)

If you’re looking for a touch of brilliance, superior craftsmanship or a distinctive

gift, KRIstoF GALLeRY’s line of crystals and dining sets, imported from Poland

will surely appeal to you.

For inquiries, please contact or see us at:-Kristof Gallery sdn BhdGround Floor, Lot 154-156 Jalan sungai Padungan93100 Kuching, sarawaktel: 082-413877 Fax: 082-244406

See you at the Rainforest World Crafts Bazaar 8-12 July

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Jintobaeki in Kangnung is famous for its carved birchwood ducks, perched on tall wooden poles,

the pole is traditionally known to prevent misfortune.

These duck mobiles are made from the same wood as those traditional wooden poles.

The mobiles can be hung in windows or in doorways both for the prevention of misfortune and for decoration as wind chimes.

To purchase Choryo’s mobiles and other products, and find out more about Gangwon Province, visit our booth at The Rainforest World Crafts Bazaar Sarawak Cultural Village 8 – 12 July

sarawak Craft Council, sarawak Handicraft Centre, Round tower, Lot 32 sect 25 KtLD, Jalan tun Abang Haji openg, 93100 Kuching, sarawak

tel 60 82 245 652, 252 241, fax 60 82 420 253e-mail : beatricekedoh@yahoo.com

website : www.sarawakhandicraft.com

Published for sCC by: Crafthub sdn.Bhd, First Floor, no.96 Main Bazaar, 93000 Kuching sarawak Malaysia.

tel: 60 82 421 346 fax: 60 82 614 622 email: crafthub@gmail.com website: www.crafthub.com.my