This gallery is dedicated to the memory of the late Dato Margaret Linggi, the Founder of the Gallery, who was a very keen and gifted weaver. She strongly advocated the preservation and continuity of the Iban art of traditional weaving. She also played a privotal vote in the research and preservation of Iban ikat weaving. Exhibits include photographs and woven items made by her.

Gallery 1 - Display Gallery

This gallery exhibits weaving tools, implements, and raw materials used in textile weaving. The weaving looms on display shows the various stages in the ikat weaving process.

Gallery 2 - Weaving Gallery

Basic Process In Ikat ( Tie & Dye ) Technique :

  • Ngirit (Warping) : This process is done on the back-strap loom, performed by at least two persons.
  • Ngarap: Selecting of alternate warps using nylon threads which are held together by a heddle rod.
  • Negi : Weaving a small portion of the pua’ at both ends to hold the piece together
  • Muai : To sort out the warp threads to enable the folding process.
  • Nipan (folding): And mounting the folded yarn onto the tying frame.
  • Nanchang/Ngebat (tying): To create the design
  • Dyeing (Natural dyes used : morinda): Dyeing with natural dyes Engkudu roots (Morinda citrifolia. To produce a deep red colour). Engkerebai leaves (Psychotria spp. To produce red colour). Sebangki (Neesia spp. The bark of the sebangki tree produces red colour) Renggat / Tarum (Marsdenia tinctoria. Two types - tarum padi and tarum akar. To produce the indigo colour)
  • Mampul: to cover, by tying the parts that are to maintain the first colour
  • Ngerenggat or narum: dyeing with indigo leaves, to colour the parts that were not tied
  • Muka’ tanchang (untying) and Ngerembai (to unfold) the pua’ piece
  • Weaving (nenun): The lower and upper warp using the back-strap loom.
  • Cutting the division between the upper and lower pieces. Joining the two pieces by hand stitching, to form one piece of pua’.

Gallery 3 - Museum

The Museum and Gallery have a total collection of more than five hundred pieces of pua kumpu and other woven textiles. They formed the major part of the exhibits on display at the gallery. Costumes and accessories formed a smaller part of the collection.

Gallery 4 - Tun Jugah Memorial

This Gallery was put up to perpetuate the memory of the late Tun Jugah. Exhibits include photographs, mementos, and other personal items of Tun Jugah.

Gallery 5 – Beads Gallery

The beads in this gallery are the private collection of the late Dato Margaret Linggi. Most of the beads in the collection come from the maritime bead trade or imported beads from Europe, Venice, Middle East, Eastern Mediterranean, China, Africa, India, Indo-Pacific region, Indonesian, and a few are from Borneo.
On display are beads such as chevron, eye, melon, rosette, cane, mosaic or millefiori, feather, pyjama, carnelian, king, aventurine banded lamp, doughnut, seed, disc, jatim, and shell. These beads are displayed according to how they are worn or used such as necklaces, belts, and costume. Some are displayed as strings based on types or names, and some special or rare beads are displayed individually and some as loose groups of beads. Also on display are the Iban traditional costume Baju Marik, Dujung Marik and decorated textiles (skirts, jackets, and female tops) with cowrie shells and other beads.

Other Exhibits

These are complementary exhibits like heirloom jars, ceramics, and brass artifacts. The role of these exhibits in the Gallery is significant because they form an integral part in the life of the Iban people.

Note

Non flash photography is allowed in the galleries except for in the Museum.

Opening Hours

  • Monday to Friday: 9am-12nn & 1pm – 4pm
  • Closed on Saturdays, Sundays and Public Holidays