By Christine T
KUCHING, Oct 7: Critics questioning the cultural authenticity of the backdrop at Kuching International Airport (KIA) have been urged to take a broader view of art, with Tourism, Creative Industry and Performing Arts Minister Dato Sri Abdul Karim Rahman Hamzah stressing that the design was intended to be contemporary while incorporating elements of Malaysian and Sarawakian artistic heritage.
He said the motif should not be judged solely against traditional Sarawak designs such as “pua kumbu”, as contemporary artwork could draw from different artistic influences while still reflecting local culture.
“Art is universal. It is difficult for us to say, ‘This is Indonesian art, this is Peninsular Malaysian art’… don’t be too narrow-minded. Look at it from the bigger picture,” he told reporters after officiating the Sarawak Women of Tomorrow (SWOT) 2026 at Damai Lagoon Resort, Santubong, today.
He said he had received feedback from social media users and the media questioning whether the artwork displayed at KIA adequately represented Sarawak’s cultural identity.
However, he said Malaysia Airports Holdings Berhad (MAHB) had explained that the design was conceived as a contemporary interpretation of local heritage rather than a direct reproduction of traditional Sarawakian motifs.
According to a document specifying the artwork designs, the wall art, themed “Spirit of Sarawak”, was created to celebrate the richness of local heritage, crafts and identity.
The document states that one of the key motifs is “tampuk manggis”, a traditional floral motif documented in Sarawak Malay songket. The motif is inspired by the form of the mangosteen calyx.
The artwork also incorporates elements of “pua kumbu”, the traditional Iban wrap-ikat textile heritage strongly associated with Sarawak. Its symbolic motifs are derived from flora, fauna, human forms and spiritual elements.
These motifs are applied through a flowing wave pattern representing the movement of Sarawak’s rivers, while also symbolising journeys through culture and history, a sense of connection and storytelling.
The design document states that the artwork was developed based on research drawn from academic publications by Universiti Malaysia Sarawak (Unimas) and Universiti Teknologi MARA (UiTM).
Abdul Karim said MAHB had also referred the design to the arts unit at Unimas, involving individuals with expertise in the arts, particularly motifs and batik.
He said elements that could be associated with Sarawakian culture were visible in the design, including floral features and what appeared to resemble mangosteen motifs.
“It might not be the actual face of a mangosteen, but it shows (the element). That’s why I say it is contemporary,” he said.
Abdul Karim said he had previously taken the view that artwork displayed at Sarawak’s main entry point should reflect Malaysian or Sarawakian artistic identity.
“If there are no elements of Malaysian or Sarawakian art at all, then perhaps we can say, ‘Remove it’.
“But if there are elements of Malaysian or Sarawakian art, then we accept it,” he said.
He stressed, however, that the decision on whether to retain or replace the backdrop ultimately rested with MAHB.
Abdul Karim also called on members of Sarawak’s arts community who had raised concerns over the design to approach the issue with an open mind, particularly as contemporary art could incorporate influences from different cultures and artistic traditions.
The controversy surfaced after local artist Gerald Goh alleged that the backdrop motif featured predominantly Indonesian ikat motifs and did not sufficiently reflect Sarawak’s cultural identity.
Goh had also questioned the suitability of the design given KIA’s role as a major gateway to Sarawak, where the airport often provides visitors with their first and last visual impression of the State. — DayakDaily
