Why Malaysian advertising needs to rethink its portrayal of Borneo

When East Malaysia appears in Malaysian advertising, the visuals often default to longhouses, hornbills, forests, and paddy fields. While recognisable, such imagery flattens a complex region and its people into neat clichés.

The issue goes beyond aesthetics. Advertising doesn’t just sell products, it shapes cultural perceptions. Oversimplified or romanticised portrayals influence how Malaysians understand one another, and more importantly, who gets left out.

With the industry concentrated in Klang Valley, narratives about Borneo are often created from afar. This leaves little space for lived realities, Indigenous perspectives, or the cultural depth across Sabah and Sarawak. Too often, East Malaysian identity becomes decorative, an exotic backdrop rather than a story in its own right.

Don't miss: CelcomDigi unveils AI chatbot to help preserve native Bornean languages

However, there is growing recognition that this must change. Younger audiences expect representation that is authentic, diverse, and grounded in truth. Brands that rely on stereotypes risk alienating the very communities they want to connect with. Progress requires shifting from appropriating culture to collaborating with the people who live it.

A+M spoke with filmmakers Nadira Ilana and Sarah Lois Dorai, along with Juvita Tatan Wan of the Tuyang Initiative and Koh Poh Leong of The Culture Capital — four industry figures pushing for better representation and deeper collaboration in the way Indigenous voices are heard and portrayed.

The weight of misrepresentation

Film director Nadira Ilana from Sabah pointed out that the national narrative has long been broadcast from Kuala Lumpur, with little intention of uniting Borneo and the Peninsular. “Most of the decision makers in mainstream film and media aren’t East Malaysian, and there is definitely still a lack of emphasis on diversity in writer’s rooms, which is what perpetuates inauthentic Malaysian stories across the board," she said.

For her, storytelling as a Dusun filmmaker is both professional and personal. “These efforts to reverse our erasure, to challenge colonial narratives is not just ‘inspiring’. It can be traumatic, intense emotional labour," said Ilana. This is why she strongly believes Indigenous storytellers should be prioritised in leading their narratives.

"For those of us who have experienced the pain and harm of erasure, storytelling isn’t just a job, it’s healing medicine," she said. This responsibility often means resisting industry expectations. She added: 

There have been so many times when decision makers in KL would tell me to make Borneo stories ‘more Malaysian’.

"Because they are more interested in a Semenanjung (Peninsular) version of Borneo that doesn’t exist rather than the real thing." Her critique extends to festive ad clichés.

“I was once told that for Kaamatan and Gawai advertisements, the Borneo main characters ‘have to be seen flying back from West Malaysia’ so that the ‘West Malaysians could understand it’. I was aghast.”

Ilana believes such tropes flatten complex realities like urban migration and displacement. She said, Indigenous communities worldwide are guardians of ecology, and their stories should reflect this role rather than fit into recycled commercial formulas.

A Klang Valley blind spot

The perception gap between Kuala Lumpur and East Malaysia was a recurring theme. Juvita Tatan Wan, co-founder of The Tuyang Initiative, and co-curator of IX Fest, recalled frequent requests from KL-based agencies for anecdotes and stories during East Malaysian festive seasons.

“It started out feeling nice, because I felt ‘Oh, I am remembered despite having left KL and moving back to Sarawak,’ and then I realised and remembered that I co-founded Tuyang precisely because I wanted us, as Indigenous people, to get the chance to be the champions in driving our stories. I wondered why they didn't consider bringing us on board as we came with strong credentials, to be part of the working team?’”

She noted that many industry peers struggled to commit time to genuinely experience East Malaysian contexts. “A relationship needs to be formed, especially with the people and their surroundings in order for some kind of real understanding, so the stories can be better told.” The problem, she added, goes beyond logistics.

There’s still a preconceived notion, and expectation of what East Malaysians or Indigenous people should be or do.

"And because that exists, it’s hard when we, as Indigenous people ourselves, verbalise something else. It sometimes feels like justifying who we are and where we’re at in this current century," said Tatan Wan.

Creative director Koh Poh Leong, co-founder of The Culture Capital, and co-curator of IX Fest, argued that this reflects a broader issue of accuracy. “Brands and agencies hold strong positions to create behavioural change, so it’s important to get every story as accurate as possible," said Koh. "I’m certain we would be upset if our own stories and histories were distorted just to be turned into an entertainment piece," he added. 

Towards a mindset shift

For Sarawakian filmmaker Sarah Lois Dorai, grappling with responsibility began with avoidance. “At first, I avoided it completely because I was stricken with fear of getting it wrong. But over time, I realised that by saying no to those kinds of projects, I was making way for continuous misrepresentation, and that I was now part of the problem," she said. 

She now grounds her work in a principle of respect, when representing East Malaysia and Indigenous stories. “Whether they're done commercially or not, I ask myself if we are honouring the people, the stories, the traditions and the land where they come from," said Lois Dorai.

I believe that authenticity is the outcome of putting honour at the centre of our decisions.

Film, she added, remains one of the most powerful mediums to shift perception. “Course correcting misrepresentation is very much dependent on who is telling those stories, and who better to take on that task than storytellers from the people groups affected, who have lived experience, an understanding of cultural nuance and would be mindful in their approach.”

Nadira Ilana also explained that structural support is needed. “Ensuring that Borneo-Malaysian production houses get to lead Kaamatan and Gawai stories might be national service, but to KL companies it might not make financial sense which is where government intervention and creative industry policies would be useful.”

Building new connections

Across the board, the creatives emphasised that allyship in advertising requires more than symbolic inclusion. Tatan Wan highlighted the importance of layered understanding. “There needs to be an understanding that there are some of us who live in rural villages, and some of us in cities and towns. And some of us who grew up in between. We have folks who have 5G connectivity, and others who get just a glimpse of mobile connectivity once every few days.”

Her call to brands: “Look at the layers of segments and sub-segments within the communities of East Malaysia. Don't just blanket East Malaysia, especially if you intend to truly build relationships that matter.”

Sarah echoed the need for humility and collaboration. “Don’t be afraid to admit when you don’t fully know or understand certain things, and ask for help. Ask your parents, your elders, your larger community, your fellow Indigenous creatives. We keep each other in check and balance, and better yet, we uplift each other.” For Koh, the first step is acknowledgment:

My hope is for the industry to acknowledge that these stories, values, cultures, and heritage come from the community. Because without the community, there is nothing to tell.

These conversations will also continue at the Indigenous Exchange Fest (IXF), happening in Sarawak from 12 to 14 September. Co-curated by Juvita and Koh, the three-day festival brings together Indigenous voices and the creative industry through panels, workshops, performances, and family-friendly programs.

“Be true allies by working together with us,” Juvita said. “Bring us onboard, have us at the table during early discussions.”

For Koh, the festival is about expanding possibilities. “It’s a stage to reframe our stories, celebrate collaboration, and expose ourselves to global standards. In doing so, it might bring the world to us.”

Accelerate your brand’s growth with AI-first strategies, emerging tech and data-driven experiences. Join the industry's leading marketers at Digital Marketing Asia 2025 Malaysia on 30 October to uncover transformative trends, real-world wins and powerful ideas for 2025 and beyond.

Related articles:
PETRONAS celebrates tradition in new Gawai and Kaamatan short films
CIMB Artober conundrum: Can brands respectfully engage with the indigenous community?
C27 partners EPIC Homes to house Indigenous groups