In this silkscreen and linocut/woodcut print, three elegant sape’ stand awkwardly on the glossy top of a heavy antique wooden Chinese-style table, floating against a stunning geometric backdrop pattern.

Choosing this slightly abstracted and contemporary look to bring together different elements associated with traditional culture in Sarawak prompts thinking on their place and perception in contemporary lifestyles and aesthetics. As the “Pop” effect of silkscreen meets the heavy, blocky, hand-cut density of woodcut/linocut, the original detailing of motifs on the sape’, with their significances and stories, blurs into dynamic flourish, and the Dayak motif repeated in the backdrop becomes a kind of wallpaper.

The artist wants to “draw attention to the impending neglect faced by this traditional instrument among the youth”, an instrument central to traditional ceremonies and rituals. The sape’ is associated with the Orang Ulu, in particular the Kayan and Kenyah, and is among different types of boat lutes played by various communities across Borneo. With the changes brought by modern life, there is the fear that, as the older generation passes on, traditional music is quietly slipping away. However, young revivalists in Borneo are doing their part to keep the interest and practice alive and relevant both in their local spheres and in contemporary world music, with projects such as the Borneo Boat Lute Revival and sape’ artistes like Alena Murang enjoying a growing popularity.