IN the world of Iban cultural pageantry, where tradition walks the stage and identity is worn with pride, Harryson Unchau is the quiet force behind the scenes. He does not just do makeup – he dresses stories.
“For 11 years, I’ve been a makeup artist. But in this world, I also serve as a tukang kebat – someone entrusted with dressing participants in ngepan Iban, our full ceremonial attire,” said the 27-year-old from Sebauh, Bintulu.
It is a responsibility that demands more than a good eye. Every pin, fold and accessory carry ancestral weight. To Harryson, it’s sacred work.
Ngepan, he explained, is not just about looking beautiful. Every piece has its order, with meaning behind how and why it is worn.
He ensures that each element is arranged according to tradition – because that is what gives it power.
A tradition woven with meaning
What most people do not realise, Harryson shared, is how technical and symbolic the process really is. From the tali pinggang besi (iron belt) to the finely woven kain kebat, everything must sit just right.
“The process of tying the kain kebat is precise. Once it’s wrapped, we secure it with a belt and pins to ensure it aligns perfectly. It takes patience. But it’s worth it when everything fits harmoniously,” he explained.
Some of his accessories are inherited. Others he has spent years collecting from traditional artisans across Sarawak.
“I also ask the elders a lot of questions. I observe, I study old photos, and I make sure nothing is out of place – from the marek empang to the selampai,” he added.
This devotion to detail isn’t about aesthetics – it’s about preserving cultural knowledge in physical form.
Painting confidence, not just faces
As a makeup artist, Harryson’s brush strokes are guided by tradition too.
“I always refer to traditional looks when I do makeup. Earth tones, gold, and red – these are colours that match our heritage. But I also blend in modern techniques, so the look holds under stage lights,” he said.
His goal is simple – to elevate a participant’s confidence without compromising authenticity.
“I avoid dramatic trends that might distract from the cultural story carried by the ensemble. For me, beauty in our tradition is about balance and grace – not excess,” he pointed out.
It is this same philosophy that guided him in preparing Sharmin Dara Mellia for her appearance at Pekit Kumang Gawai Dayak Stutong 2025 – a young woman who would go on to revive the lost art of bejawang in front of a live audience.
To him, her presence on stage was more than a performance – it was a powerful act of cultural storytelling, and he saw his role not just as a makeup artist or tukang kebat, but as someone entrusted with helping that story come to life.
“Bejawang is the soul of our oral tradition. By ensuring Sharmin looked her best, I felt like I was also playing a part in presenting that soul – helping it reach others, especially the young ones who may not have seen it before,” he said.
Reclaiming roles, rethinking tradition
As a man, his role as tukang kebat sometimes surprises people. But Harryson is clear: tradition does not belong to any one gender.
“Culture isn’t just the responsibility of women. Men are just as accountable in preserving our heritage. This is about shared identity,” he said firmly.
Through his work, he hopes to inspire a shift in how young people view Iban customs – not as relics of the past, but as living expressions of who they are.
“I want them to see tradition not as something outdated but as something that shapes us. Wearing it, performing it, learning it – it’s how we honour where we come from,” he emphasised.
Each time Harryson prepares a participant, he considers it another chance to learn.
“There’s always something new. Whether I’m dressing someone or applying makeup, it’s not just a job – it’s my way of giving back to the culture that raised me,” he said.
