Picture this: the misty highlands of Ranau at dawn, where ancient stories whisper through the wind. Or imagine the rhythm of a sape echoing through Kuala Lumpur’s concrete jungle, carrying melodies that have survived centuries. These scenes are a living, breathing reality of Malaysia’s Indigenous artists who are reshaping how the world sees their heritage.
From Borneo’s emerald jungles to the urban landscapes of Peninsula Malaysia, a new generation of Indigenous creators is wielding cameras and instruments like weapons against cultural erasure.
Picture this: the misty highlands of Ranau at dawn, where ancient stories whisper through the wind. Or imagine the rhythm of a sape echoing through Kuala Lumpur’s concrete jungle, carrying melodies that have survived centuries. These scenes are a living, breathing reality of Malaysia’s Indigenous artists who are reshaping how the world sees their heritage.
From Borneo’s emerald jungles to the urban landscapes of Peninsula Malaysia, a new generation of Indigenous creators is wielding cameras and instruments like weapons against cultural erasure.
#1: Farizie Morinding: The Guardian of Dusun Dreams
Walk into any room with Farizie Morinding, and you’ll immediately sense his quiet intensity. This cultural performer and filmmaker from Ranau creates bridges between worlds through his cinema. When his Dusun-language film “Odoi Odu” claimed the Best Short Film title at the Astro Kirana Short Film Awards in 2008/2009[1], it became a declaration that Indigenous stories deserve the spotlight.
Farizie’s “Lu Os” tells the heart-wrenching story of a mentally disabled protagonist caring for his stroke-stricken mother. The film demolishes stereotypes about what Indigenous cinema can achieve. When it won the Golden Kinabalu Award in the Indigenous Language Category at the Pesta10 Filmmakers’ Competition[2], Farizie proved that authentic storytelling transcends language barriers.
His filmography reads like a love letter to his homeland: “Dialah Nenekku” (My Dear Grandma) and “Kondosom Guhod” each carry the weight of generations within their frames. Through his lens, Borneo’s diversity gets celebrated on the global stage.
#2: Nadira Ilana: The Rebel with a Camera
Nadira Ilana leads the charge against Malaysia’s Peninsula-centric film industry with unflinching determination. This mixed Indigenous Dusun filmmaker rolled up her sleeves and decided to change the system herself.
“The Silent Riot” won the Best Human Rights Award at the Freedom Film Fest in 2013[3], sending shockwaves through the Malaysian film community. The documentary demanded action from its viewers. But Ilana wanted more than single victories.
Splitting her time between Kuala Lumpur and Sabah, she recognised a harsh truth:
People working in the film industry in Sabah needed time to develop their talents but didn’t have the resources or job opportunities to gain experience. – Nadira Ilana[4]
So she created those opportunities herself.
Her film residency in Kampung Bongkud Ranau became a launching pad for previously impossible dreams. Through her production company, Telan Bulan Films, Ilana builds careers while making films. As the first East Malaysian recipient of the Freedom Film Fest’s Justin Louis grant, she rewrites the rules of who gets to tell Malaysia’s stories.
#3: Putri Purnama Sugua: The Voice of the Voiceless
Growing up in an underprivileged area taught Putri Purnama Sugua the power of amplifying silenced voices. Her solo directorial debut, “Aku Mau Sekolah” (“I Want To Go To School”), addresses the challenges facing stateless children in Malaysia while forcing audiences to confront systemic neglect[5].
When her film competed alongside works from 11 other countries, Putri proved that universal truths transcend borders. Her latest work, “Rumah Nda Bertanah” (The House Without a Ground), continues this unflinching exploration of statelessness, earning international recognition because of its local focus.
Through DREAM TO FLY, her production company creates web film commercials for governmental organisations[6]. Putri bridges the gap between artistic vision and social impact. She understands that changing minds sometimes requires working within the system to transform it.
#4: Nading Rhapsody: Where Ancient Meets Now
Step into a Nading Rhapsody performance, and you’ll witness something magical: the moment when traditional Sarawakian folk songs collide with contemporary sensibilities. This Malaysian ethnic music ensemble conducts cultural conversations through their art.
Composed of members from diverse Indigenous communities, their repertoire reads like an anthology of Borneo’s soul: folk songs that echo through generations, chants that connect earth to sky, and myths that refuse to be forgotten[7].
Their global recognition came through major media outlets like the BBC UK, Al Jazeera, Mediacorp, CNN Philippines, Rappler Entertainment Philippines, and Bangkok Post, all documented their international journey[8].
As Sarawak’s representative delegates to WOMEX 2018 in Gran Canaria, Spain, they proved that Borneo’s musical heritage could command European stages.
These musicians understand that preservation means evolution. Their avant-garde approach to Borneo ethnic music proves that honouring ancestors can embrace innovation simultaneously.
#5: Alena Murang: The Sape Revolutionary
Born in Kuching to a Kelabit father, Datu Ose Murang, and an English-Italian mother, Dr. Valerie Mashman, Alena’s childhood was spent hiking to waterfalls and sleeping in longhouses across rural Sarawak.
Her anthropologist mother sparked her appreciation for cultural preservation, while her father’s heritage connected her to ancient traditions.
At age 10, she began learning the sape from master Matthew Ngau Jau. Despite never formally studying music, her dedication transformed her into something unprecedented: the first professional female sape musician.
As one of the first women to play this lute instrument traditionally reserved for male healers[9], Alena shattered barriers to save endangered languages from disappearing.
Her journey took her from Kuching to Lancashire, Singapore, and finally Kuala Lumpur, where she now champions Kelabit and Kenyah cultures. She’s performed across over 20 countries, from Iceland to Australia[10], proving that ancient traditions can command global stages.
Her albums “Sky Songs” and “Flight” breathe new life into endangered languages through contemporary expression.
Beyond music, Alena creates visual art inspired by her Dayak heritage, with exhibitions across Taiwan, Kuching and Kuala Lumpur. Her self-produced music videos earned international recognition, with “Warrior Spirit” winning two awards at the International Music Video Awards in the UK. In 2021, the Sarawak government honoured her contributions to indigenous art, cementing her role as a cultural bridge-builder.
#6: At Adau: The Healers Through Harmony
The name “At Adau” carries profound meaning – “At” means “root” in Bidayuh, while “Adau” refers to the sacred tree once used exclusively for making sape instruments. This etymology reflects their mission to honour both linguistic heritage and musical tradition.
Formed in June 2014, the seven-member ensemble began when core trio Jackson Lian Ngau, Meldrick Bob, and Ezra Tekola united around a simple idea: fusing modern music with traditional instruments.
The remaining members, Juju Lee, Alfonso McKenzie, Cerdic Riseng, and Luke Wrender, joined later, each bringing their tribal heritage to create something unprecedented. Band members represent various Sarawakian tribes, including Iban, Bidayuh, Orang Ulu, Kenyah, Melanau, and Penan, making them living embodiments of Borneo’s diversity.
Their sound emerges from traditional sape melodies blended with percussion from different Bornean tribes, creating what they call “ambience traditional contemporary world music.” The sape remains central to their identity; this ancient lute, found only in Sarawak, traditionally heals bodies and soothes minds.
Their accolades speak volumes: winners of the Kuching Waterfront Festival 2016, Borneo Talent Award 2015, and Special Talent Award at AIFFA 2015. They believe music serves as a universal language, dismantling barriers between cultures, genders, ages, and ideologies[11]. Their album “Oba”, meaning “love” in Kenyah, captures the essence of Borneo’s rainforest through instrumental journeys that heal weary souls globally.
The Revolution Continues
These artists create revolutionary work. They’ve taken the weight of their ancestors’ dreams and forged them into weapons against cultural amnesia. Every film frame, every musical note, every performance declares: “We are here. We matter. Our stories deserve to be heard.”
In a world that often treats Indigenous voices as relics of the past, these Malaysian creators prove that tradition and innovation are dance partners. They preserve culture while evolving it, ensuring it remains vibrant and relevant for generations who will inherit both the beauty and the responsibility of their heritage.
The revolution is being televised, streamed, and sung. And it’s coming from the heart of Malaysia’s Indigenous communities, one story at a time.
Explore our sources:
- Unto, R. (2019, September 17). Take advantage of cultural richness: Director. Home. Link.
- Thoughts On Films. (2021, December 12). A gutsy guest – selected films from Cinebah 2021. thoughtsonfilms.com. Link.
- Tatler Asia. (2022). Nadira Ilana. Link.
- Vinotha, S. (2024, March 8). Nadira Ilana tells hard truths about sabah through films. Malaysiakini. Link.
- Hsia, H. (2021). Putri Purnama Sugua’s “Rumah Nda Bertanah” brings pride to Malaysia. Yahoo! News. Link.
- Featuring freedomfilmfest 2018 grant winner – Putri Purnama Sugua. Freedom Film Network. (2018, February 2). Link.
- Chin, K. (2023). Nading Rhapsody. Ethnocloud. Link.
- Tawie, P. (2023, June 22). Nading Rhapsody. New Sarawak Tribune. Link.
- Tatler Asia. (2017). Alena Murang. Link.
- Karuna. (2024, March 28). Alena Murang. Rainforest World Music Festival. Link.
- Rodznocturne. (2018). At adau – the world music band from Sarawak, Borneo, Malaysia. Steemit. Link.
