AS the lively crowds wander through the colourful stalls of the Tasik Biru Festival 2025, sampling local delicacies, admiring traditional crafts, and enjoying cultural performances, some quiet corners reveal deeply personal stories behind the products on display.
From budding entrepreneurs to resilient artists and cultural custodians, the festival in Bau is a vibrant showcase of Sarawak’s diverse heritage.
For 38-year-old Norlin Daies, the Tasik Biru Festival 2025 marks her first venture into the world of handicraft entrepreneurship.
Unlike many who inherit family craft traditions, Norlin’s journey into beadwork began only this January, yet her passion and dedication are already shining through her young brand, Norlin Craft and Collection.
“Before this, I had little experience with crafts,” Norlin said.
“I started learning last year by attending a one-day workshop with Cikgu Julie from Julie Craft and Collection, and it really opened my eyes to what’s possible.
“It wasn’t hard because I was passionate, but I quickly realised that creating these intricate bead designs requires patience and precision.”
Each necklace or accessory can take between two and three hours, sometimes even two days if she needs to redo parts due to complex patterns or mistakes.
Norlin’s designs draw heavily on Bidayuh and Iban motifs, paying beautiful tribute to Sarawak’s cultural tapestry.
“Most of the beads I use are handcrafted by me though some ceramic like beads cannot be made by hand, and I have to purchase those,” she said.
The process is detailed and time-consuming, but Norlin enjoys every step.
Though new to the market, Norlin has already gained encouraging support, with the Tasik Biru Festival bringing a steady flow of customers and her TikTok presence boasting around 2,000 followers, helping her reach a wider audience.
“People send me their design ideas, and I create custom pieces for them. I also share videos of my necklace-making process, which my followers love,” she said.
Looking ahead, Norlin hopes to develop more original designs inspired by both her mentor and her own creativity.
“Right now, most ideas come from customers but I’m working on building my own style and signature pieces,” she added.
Prices range from RM15 to RM200 for her most elaborate creations, reflecting the skill and time invested.
“It may seem pricey, but every piece is unique and crafted with care,” Norlin explained.
Norlin’s story is one of fresh beginnings, embracing heritage and creativity while carving out her own path.
In a quieter corner, surrounded by macrame wall hangings and mandalas drawn by hand, 36-year-old Shiqien Suot invites visitors into a different kind of story that is woven through resilience and healing.
“I’m not an art student,” she said modestly.
“I started doing art about four years ago. Not to sell, but to survive.”
Shiqien’s artistic journey began as a deeply personal response to her mental health.
“I wanted to cope without medication or therapy,” she explained.
“Art became my distraction, a way to quiet my mind.”
What began as simple mandala sketches evolved into a growing body of work featuring repetitive, detailed patterns that reflect her emotional struggles.
“Every line tells a story,” she said, adding, “drawing feels like releasing my thoughts onto paper.”
Her first piece was a mandala inspired by an Instagram post.
“I didn’t expect to succeed, but once I started, I couldn’t stop,” she added.
She has since expanded into macrame, creating three dimensional pieces such as one inspired by the gentle waves of a blue lake that mirror the calmness of Tasik Biru, which took six months of daily work to complete.
Additionally, Shiqien designs accessories featuring native motifs that blend traditional elements with contemporary style, and her creations can be found on Instagram at Qienike.
While many vendors attend for business or tourism exposure, Shiqien’s presence offers a quieter lesson in resilience and how art can transform pain into peace.
“I’ve made over 50 pieces, but it’s not about the number. The process itself keeps me going,” she said.
At 57, Nosia Abo is a familiar figure at Bau’s Gawai Bazaar, a steadfast presence long before the COVID-19 pandemic paused cultural events.
For Nosia, these bazaars are more than just markets; they are a way to keep her Bidayuh heritage alive through food and tradition.
“We’ve always joined every event held in Bau,” she said.
“Since the Gawai Bazaar started here, I’ve taken part regularly.”
This year’s event holds special meaning as the first since COVID- 19 restrictions eased.
“There were no events like this for years, so coming back feels like a fresh start, a chance to reconnect with the community,” she added.
While Nosia usually divides her time between the Bau bazaar and the Sarawak State Level Gawai Bazaar in Kuching, this year she chose Bau.
“My daughter is manning our Kuching booth, so I’m here,” she explained.
Though the crowd is a bit thinner this year, with three other simultaneous events dividing attention, Nosia’s booth remains a proud showcase of Bidayuh culture.
Her signature product is ‘tuak tampoi’, a special rice wine distinct from the more common Iban tuak.
“Our Bidayuh tuak uses yeast and fresh fruits like grapes, roselle, strawberries, dragon fruit, kedondong and watermelon,” she explained.
“We don’t use traditional fermenting agents like bedih. The fruity flavour makes it unique.”
Among the many varieties, sugarcane tuak stands out as the oldest recipe, handed down by ancestors.
Its preparation is intricate, involving washing, sun drying, extracting juice, cooking over a wood fire for five hours, and fermenting for at least six months.
“The longer it ferments, the better the taste,” she said.
Nosia also offers an array of homemade traditional food from Kampung Serasot, including ‘lepat ubi’ (steamed cassava cake).
“It’s very popular and reminds many of home,” she added.
Through her presence at the bazaar, Nosia preserves not just recipes but a living connection to Bidayuh identity, inviting visitors to taste tradition, culture and heartfelt craftsmanship.
