Deep in Sarawak’s interior lies Sungei Asap, home to one of the state’s smallest and least-known Indigenous communities — the Ukit. Their longhouse, Uma Ukit, recently gained national recognition for its handcrafted rattan wall, a stunning testament to tradition, unity, and artistry.
A Longhouse Like No Other
Upon arriving in Bintulu, I was quickly whisked away into a Hilux, beginning my journey toward Sungei Asap in Belaga. For over two hours, we drove deeper into a landscape that felt worlds apart from the city, with no crowded streets, no towering infrastructure, no chaos.
Instead, the air was fresh and crisp, the vegetation more abundant, and glimpses of blue mountains peeked through the tall trees.
Unfamiliar with this part of Sarawak, I was grateful to be accompanied by two experienced guides. Datuk Jacqueline Fong, a well-known figure in East Malaysia, needs little introduction. She has long championed rural communities, introducing innovative craft initiatives tailored for the global market.
Our other companion was our skilled driver, whose smooth handling of the winding country roads made the ride remarkably comfortable.
A Cultural Gem
En route to one of our destinations, which is a small island resort nestled within the scenic Bakun Dam, we made a memorable stop at a remarkable place: a longhouse belonging to the Bhuket, or Ukit, people.
As one of the smallest and least-known tribes in Sarawak, the Ukit live in Uma Ukit, the only known settlement of their kind. They speak a distinct language and continue to live in harmony with the rainforest, preserving a way of life that has endured for generations.
Before our visit, Jacqueline mentioned that there are 15 longhouses in the Sungei Asap, Belaga region. She insisted that Uma Ukit Apau Koyan longhouse was a must-visit, describing it as a treasured cultural site. Her words piqued my curiosity.
At first glance, the longhouse appeared rather unassuming from the outside. But as I stepped onto the Ruai which is the communal verandah, it was truly impressive.
“Oh my,” I exclaimed. The longhouse features 30 rooms (bilik), and its walls along the Ruai are entirely clad in rattan, the tough, flexible vine that flourishes in tropical jungles. What made it more remarkable was that the rattan was harvested from the surrounding forest and installed by the residents themselves. It was not just decorative. It was part of a meaningful community effort.
Their work earned national recognition. In October 2024, the longhouse secured a spot in the Malaysia Book of Records (MBOR) for having the longest traditional rattan-decorated wall, stretching an impressive 185.4 metres. The certificate was presented by MBOR representative Edwin Yeoh to Maren Uma Ngarit Lejap, in a ceremony witnessed by Murum assemblyman Kennedy Chukpai Ugon.
This achievement not only showcases the community’s artistry but also elevates Uma Ukit as a cultural tourism destination, especially for visitors drawn to the unique traditions and craftsmanship of the Orang Ulu people.
Rattan is a natural material that brings warmth and a kind of rustic, woodsy elegance to any space. Beyond the wall, we saw rattan furniture in chairs, tables, and even light fixtures crafted into chandelier-like forms, adding charm to the living space of one of the artisans. Many of these pieces would fit effortlessly into modern homes, evoking a boho-chic aesthetic with their organic forms and earthy tones.
Inspired by flora, fauna, and ancestral beliefs, the intricate motifs woven into their work reflect deep cultural roots and a commitment to preservation. It is artistry born from the forest and nurtured by tradition.
As the rain softly fell outside, we took a moment of respite on the Ruai, the communal verandah where life unfolds. It is here that weaving and crafting take place, where festivals are celebrated, and guests are warmly welcomed, all embodying the spirit of togetherness.
The Ukit women stepped forward, gracefully presenting their handcrafted wares. Each piece told a story and every design carried the weight of heritage. As guests, we were offered a glimpse into the rich artistic legacy of their community. In return, it is only right that we support these women and their crafts.
By the end of our visit, we found ourselves adorned with rattan bracelets and carrying handwoven baskets, souvenirs of both artistry and connection, as we continued, on to our next destination.
