By Marlynda Meraw
KUCHING, Jun 21: When something first exists, it is named to give it meaning, just as a Chinese lion dance head must first be awakened before it can fulfil its purpose. This sacred ritual breathes life into the handcrafted creation, setting it on its journey as part of a living tradition.
At the Rainforest World Music Festival (RWMF) 2025, nestled in a corner of the Sarawak Cultural Village, visitors were offered a rare glimpse into that very journey, through glue, paper, and time.
Standing at the heart of the lion head craft-making booth was Ronnie Chin, 44, chairman of the Lian Heng Wushu Association. For him, each lion head was more than just an art piece. It represented a full cycle: a beginning, a purpose, and, eventually, an end.
A lion head’s life did not end when it was damaged or worn. Instead, its farewell was solemn, filled with ritual.
“It’s like a funeral. We burn it (lion dance head) with joss stick papers,” said Ronnie.
The act mirrored death: a symbolic return to spirit. To welcome a new lion head was a birth; to burn an old one was to send it off with honour.
Ronnie explained that different Chinese sub-ethnic groups designed their lion heads differently. In Malaysia, the Cantonese style was the most prevalent. However, lesser-seen styles such as Hokkien and Hakka still existed, each with its own distinct aesthetics.
Historically, the Cantonese community was among the first to bring the lion dance tradition to Malaysia. As such, the public grew more familiar with their version.
What set the other designs apart was their material. The Hakka and Hokkien lion heads were crafted without rattan. Instead, they were shaped using earth moulds and formed entirely out of joss stick paper.
“We use about 30 layers of joss stick paper. It (lion dance head) becomes very thick,” Ronnie said.
Beyond its physical qualities, the choice of joss stick paper carried spiritual weight. Used traditionally in prayer rituals, the paper was symbolic, linking the lion head to something greater.
“As it was used for prayers, it would mean that the lion dance head is adjacent to God,” Ronnie added.
With no rigid rattan frame, the Hokkien lion heads especially took on a rounder, softer shape. Though adorable in appearance, they still held the fearsome energy needed for the dance.
The workshop Ronnie led allowed festival-goers to try their hand at this craft. Using thin strips of rattan to build a simple frame, layers of bamboo paper were glued on, dried, and eventually painted over with waterproof colours before the lion’s defining features were added.
The entire process of a full lion dance head typically took a week to complete.
For Ronnie, the booth was more than a creative display: it was an invitation to witness a cultural tradition, often overlooked, in its full form.
“I opened the booth (lion dance head making) booth to show our culture to outsiders,” he said with a smile.
Each lion head, whether brand new or at the end of its journey, carried a story. In its creation and eventual farewell, the lion was more than a dance prop, it was a reflection of heritage, spirit, and honour passed down through generations. –DayakDaily
