FOR the past two years, Sarawakian tattoo artist Natasha Melintau has carved out her niche by specialising in pua kumbu tribal designs.
FOR the past two years, Sarawakian tattoo artist Natasha Melintau has carved out her niche by specialising in pua kumbu tribal designs.
She has amassed a following who appreciates the delicate patterns and cultural significance of the Iban community’s woven textile.
At 24, the business administration undergraduate who is of Iban, Selako and Punjabi descent has made her mark as a skin art specialist who is committed to preserving her heritage.
Her customers, she says, come from across the state. Some even travelled from Brunei, Kalimantan, Singapore and even Britain to get themselves inked in the traditional motif.
Each tattoo created by Natasha is a tribute to her Iban heritage. — Photos ZULAZHAR SHEBLEE / The Star
Natasha takes pride in knowing that nearly 100 people from all over the world now carry her artwork.
“I was inspired to specialise in pua kumbu designs because of their uniqueness and their proximity to my culture. Being part Iban and also a tattoo artist have sparked an interest in learning more about these traditional designs,” says Natasha during a Zoom interview from Kuching.
She adds that she developed an interest in tattoo from her father, Melintan Ina, a tour guide who is also a tattoo enthusiast.
The pua kumbu is a ceremonial woven textile from Sarawak's Iban community, featuring intricate patterns symbolising mythology and spirituality. — Photo: ZULAZHAR SHEBLEE/The Star
“I have seen my father getting tattooed ever since I was young. He used to do tattoo on himself and on his friends for fun, using the traditional hand tapped technique.
“Through this method, a stick with a needle dipped in pigment ink is gently tapped with another stick. This tapping will cause the needle to puncture the skin and deposit ink to produce the design.
Growing up, however, Natasha never thought she was going to be a tattoo artist. “I initially thought I would pursue a career in sports science, as I was an athlete in school, but an injury prevented me from pushing my body further.
“I have always enjoyed art, but my fate led me down this path and it has shaped me into the tattoo artist I am today.” she says.
Natasha began as an apprentice at a tattoo studio in Kuching after completing Form Five. Now, she balances being a tattooer as she pursues her final year studies at a private university in the state capital.
'I’ve always enjoyed art, but the universe led me down this path,' says Natasha. — Photo: ZULAZHAR SHEBLEE / The Star
Researching a treasure
Pua kumbu is a woven textile of the Iban people that is rich in stories, rituals and culture. Treated as a treasure in the community, these fabrics often adorn walls and doorways.
The designs often depict stories, symbols and motifs related to Iban mythology, spirituality and nature.
To deepen her understanding of pua kumbu, Natasha travels to various villages in Sarawak and Kalimantan to speak with weavers and learn about their rich heritage.
Through these interactions, she has identified which pua kumbu designs can and cannot be inked, respecting the cultural significance and taboos around the patterns.
“The pua kumbu is a sacred cloth and there are many taboos surrounding the weaving of pua kumbu textiles. I have to be careful of the designs that I am inking.
“Designs which cannot be reproduced include anthropomorphism where some patterns symbolise death. For my designs, I take the key elements of pua kumbu and re-imagine them into motifs that can be used as tattoos,” Natasha explains.
In a few weeks’ time, she will be starting her apprenticeship in pua kumbu weaving at Tun Jugah Foundation, a charity organisation in Kuching, which aims to promote and preserve Iban culture.
She also goes to the Borneo Cultures Museum in Kuching often to find inspiration on pua kumbu designs, where she spends time poring over books to enhance her knowledge on tattoo art and pua kumbu.
“Traditionally, men prefer larger and bolder designs for loincloths, robes and vests, while women favour frieze or geometric patterns featuring flora and fauna.
“I think a major milestone for me was tattooing my designs on pua kumbu weavers from a village in Sarawak. It was one of the greatest achievements of my life. This experience gave me the confidence to share my work with more weavers, and I am incredibly proud that my designs were approved by masters of this sacred craft,” says Natasha, the youngest of three siblings.
Natasha says female tattoo artists who specialise in pua kumbu designs are very few, and she is proud to be one of them.
“My advice for other women tattoo artists is to always be curious, yet respectful. Never be afraid to ask questions and be spontaneous.”
For the handtapped method, a stick with a needle, which is dipped in pigment ink, is gently tapped using another tool. — Photo: ZULAZHAR SHEBLEE / The Star
Ink master
Most Sarawak tattoo designs draw on variations of kelingai (traditional) art, inspired by plants and animals, Natasha says.
Common motifs include bunga terung (eggplant), teku engkeliat (gambir leaves), and buah kelembak pecah lapan (garcinia cambogia fruit).
Pua kumbu designs revolve around designs like zoomorphism (representing animal forms), or symbols associated with plants and geometric patterns.
“As a young Dayak, I believe it is my responsibility to preserve my culture and to deeply understand the meaning behind my craft.
“I have tattooed many geometric patterns inspired by a native fruit that the Ibans call buah bangkit. For me, this is one of the safest designs as many Dayaks have specific rituals and taboos within their families.
“I also have a wide range of flora and fauna-inspired pua kumbu designs in my collection of sketches,” says Natasha, who has been involved in tattoo artwork for close to seven years.
She works on tattooing using three methods – tattoo machine, handpoke (where the tattoo needle is dipped in ink and then poked into the skin dot by dot) and hand tapped.
Carved wooden sticks are used in the traditional handtap tattoo technique. — Photo: ZULAZHAR SHEBLEE / The Star
Natasha says the hand tapped method requires great skill and precision as the artist “must carefully control the depth and spacing of each puncture.”
When asked what she loves most about being a tattoo artist, she says: “No two days are the same. Every customer brings something different and so does every tattoo. The only constant is my commitment to hard work, staying curious and always striving to perfect my craft.”
It takes her anywhere from 30 minutes to eight hours to complete a tattoo design.
“Most of my customers don’t come with a specific design in mind. They usually choose from my collection of designs or request something similar to a previous tattoo I have done.
“Since pua kumbu artwork has not traditionally been used as tattoo designs, there aren’t many references for clients to draw from, except for my past work or the designs I have created.
Natasha says for bigger tattoos, she normally draws the design on the skin to see what fits and what doesn’t. She would draw smaller designs on parchment paper and show them to customers on their appointment day.
“I also give them aftercare instructions and things they should and should not do within the period of tattoo healing. This includes keeping the tattoo dry, avoiding swimming or going out in the sun for about two weeks,” says Natasha, who shares photos of her artwork on her Instagram account @nagaiatato.
As Natasha approaches the completion of her studies, her future career path remains open, but one thing is clear – her passion for pua kumbu designs will continue to guide her artistic journey.
