The Problem with Stereotypical Representations
When East Malaysia is depicted in advertising, visuals often default to familiar scenes: longhouses, hornbills, dense jungles, and paddy fields. While these images are easily recognizable, they reduce a vibrant and diverse region into simplistic clichés. This issue extends beyond mere aesthetics. Advertising holds the power to shape cultural perceptions, and such portrayals influence how Malaysians understand each other — or fail to.
With the advertising industry largely centralized in Klang Valley, narratives about East Malaysia are often crafted from a distance. This disconnect leaves little space for lived experiences, Indigenous perspectives, or the cultural depth intrinsic to Sabah and Sarawak. Too frequently, East Malaysian identity is used as a decorative backdrop rather than being given center stage.
A Growing Demand for Authentic Representation
Today’s younger audiences are more discerning. They crave authenticity and reject tokenism. Brands that continue to rely on outdated stereotypes risk alienating the very communities they aim to engage. The path forward involves a shift from cultural appropriation to genuine collaboration with Indigenous voices.
Filmmakers Nadira Ilana and Sarah Lois Dorai, along with Juvita Tatan Wan of The Tuyang Initiative and Koh Poh Leong of The Culture Capital, are leading figures advocating for this transformation. They stress the importance of allowing Indigenous storytellers to lead their own narratives and share their truths.
The Pain of Misrepresentation
Sabahan filmmaker Nadira Ilana highlights how the national narrative has long been shaped from Kuala Lumpur with limited effort to integrate Borneo’s rich heritage. “Most decision-makers in mainstream media aren’t East Malaysian. The writer’s rooms lack diversity, which leads to inauthentic stories,” she noted.
For Nadira, telling stories as a Dusun filmmaker is deeply personal. “This work is not just inspiring—it’s emotional labor. It’s about reversing erasure and healing from historical trauma.” She recalled being asked to make Borneo stories “more Malaysian,” which often meant aligning with a Peninsular-centric view that erases local authenticity.
She also criticized the use of predictable festive tropes. “I was once told that for Kaamatan and Gawai ads, the main characters should be seen flying back from West Malaysia so West Malaysians could relate. That blew my mind.” Such representations trivialize complex issues like urban migration and cultural displacement.
Disconnect Between East and West Malaysia
The cultural gap between Kuala Lumpur and East Malaysia is a recurring concern. Juvita Tatan Wan, co-founder of The Tuyang Initiative, shared her frustration over being contacted only during festive seasons. “Initially, it felt nice to be remembered. But then I questioned why they didn’t involve us more deeply, especially when we have the credentials to contribute meaningfully.”
She emphasized the need for genuine relationships. “You can’t understand East Malaysia without spending time here. It’s about more than logistics—it’s about dismantling preconceived notions of what Indigenous people should be.”
Koh Poh Leong, creative director and co-founder of The Culture Capital, echoed this sentiment. “Brands and agencies wield influence. They must ensure every story is accurate. Distorting a community’s history for entertainment is unacceptable.”
Shifting Mindsets in Storytelling
Sarawakian filmmaker Sarah Lois Dorai initially avoided projects involving Indigenous narratives due to fear of misrepresentation. “But I realized that by stepping back, I was enabling further misrepresentation.”
Now, she approaches each project with a mindset of respect. “I ask myself if we’re honoring the people, the stories, the traditions, and the land. Authenticity stems from placing honor at the center of our decisions.”
Sarah believes film remains one of the most powerful tools to change perceptions. “Correcting misrepresentation depends on who tells the stories. Those with lived experience and cultural understanding must take the lead.”
Nadira added that structural support is vital. “Letting Borneo-based production houses lead Kaamatan and Gawai campaigns would be a form of national service. But it might not be financially appealing to KL firms, which is where government support and policies come in.”
Fostering Real Connections
Across the board, the creatives emphasized that true allyship requires more than surface-level inclusion. Tatan Wan stressed the importance of understanding the diversity within East Malaysia. “Some of us live in rural villages with limited connectivity, while others are in cities. Brands must recognize these layers if they want to build meaningful relationships.”
Sarah encouraged humility and collaboration. “Don’t be afraid to ask for help. Consult elders, communities, and fellow Indigenous creatives. We hold each other accountable and uplift each other.”
Koh emphasized the need for acknowledgment. “These stories, values, and cultures originate from the community. Without them, there is nothing to tell.”
These conversations will continue at the Indigenous Exchange Fest (IXF) in Sarawak from 12 to 14 September. Curated by Juvita and Koh, the three-day event will host panels, workshops, and performances celebrating Indigenous voices and creative collaboration.
“Be true allies by working with us,” Juvita urged. “Include us in early discussions. Let’s build something meaningful together.” Koh concluded, “IXF is a platform to reshape narratives, embrace collaboration, and meet global standards. It’s an opportunity to bring the world to us.”
This article is inspired by content from Original Source. It has been rephrased for originality. Images are credited to the original source.