Preserving the basket-weaving craft of ethnic communities in Dong Nai

Amid the fast-paced rhythm of urbanisation, when many traditional handicrafts are gradually disappearing, there are still patient hands quietly holding onto each bamboo tube and bambusa procera strip to weave into a basket in Dong Nai.

At the age of 73, Dieu Oanh (right) from Phuoc Son commune, Dong Nai Province, remains devoted to the traditional basket-weaving craft of his ethnic community. Photo: Tu Huy

The basket is not only a familiar household item associated with labour and production, but also a cultural symbol of ethnic communities, particularly the S’tieng and Khmer people in many localities. For them, preserving this craft is not merely a livelihood, but a way of extending the ancestral memory and safeguarding the soul of their culture.

The meticulous craftsmanship of basket-weaving craft

The basket-weaving craft has existed for generations, closely linked with the lives of the S’tieng, M’nong, and Khmer peoples in the remote, far-off, and border areas of Dong Nai province. Simple materials such as bamboo, rattan, and bambusa procera become durable and sturdy items under the skilled hands of artisans.

The process of making a basket requires great care and precision. Craftsmen must select the right age of bamboo, neither too young nor too old, to ensure flexibility and durability. The chosen bamboo is split into thin strips, smoothed, and dried to maintain its suppleness. Some strips are dyed or treated to create decorative patterns after they are woven. The frame determines the basket's shape, followed by the careful weaving of its base, back, and mouth. Each strip must be even, tightly interlaced, and precise.

Dieu Oanh (73, Phuoc Son commune, Dong Nai province) shared: “I learned to weave baskets when I was 20. There are many types of baskets, but the hardest part is keeping the strips even and the patterns beautiful. To do this, you have to know how to place the rows correctly and evenly. The bamboo must be carefully chosen; if it is too young, it will wilt; if it is too old, it will break. To make a durable, beautiful basket, every step must be done with care.”

In everyday life, the basket is the "companion" of ethnic people. Whether working in the fields, going to the forest, or to the market, it is used to carry rice, cassava, maize, potatoes, or even firewood. It can be said that the basket holds the rhythm of daily life and labour. The common trait of the backpack-weaving craft in Dong Nai is perseverance. The artisans work diligently, patiently, and persistently with each interlaced strand. As a result, the basket is more than just a simple tool, it is closely tied to the daily labor of ethnic minorities and carries its own distinct cultural significance.

Basket reflects customs and ways of life

Although they share the same name, baskets made by the S’tieng and Khmer people bear distinct characteristics that reflect their own customs and lifestyles. The S’tieng typically craft large, sturdy baskets for practical use. Their patterns are simple, mostly consisting of plain horizontal and vertical lines with minimal colour. For the S’tieng, the basket is an indispensable tool in agricultural work, used to transport produce from the fields or the forest. As many S’tieng artisans say, “A basket is as strong as the back of a S’tieng person” — resilient, steadfast, and deeply connected to the land.

In contrast, the Khmer people of Loc Hung commune create baskets that emphasise artistry. Their baskets are smaller but feature intricate, colourful patterns and eye-catching designs. The craft also carries a unique cultural rule; it is traditionally passed down only to men within the family. According to Khmer belief, basket weaving is a craft that requires strength and patience, with responsibilities traditionally belonging to men who shoulder the heavy work and preserve their identity.

Lam Ty, an elderly artisan from Loc Hung commune, said: “A basket sells for around 150,000–400,000 VND. We don’t have to travel far; once finished, we hang them on the wall, and customers who pass by can come in and buy them. The craft provides enough for us to live a modest life. What matters most is that we have preserved the heritage of our ancestors."

For the Khmer, the basket is more than a functional object; it is a cultural product. Each strip and weave tells a story of family and tradition. As Lam Day, Head of Baven hamlet in Loc Hung commune, explained: “Weaving is a long-standing custom. We keep the craft so that future generations will know how their forefathers made these baskets.”

Passing craft to the next generations

Basket weaving craft, already maintained by only a few, has become even harder to preserve as the younger generation gradually leaves their villages to seek work elsewhere. Many young people choose more stable jobs, leaving behind the elderly who continue to weave bamboo and bambusa procera strips with patient hands. Yet the flame of the craft has not gone out. In Loc Hung commune, several elderly residents have returned to the craft after years of absence.

To sustain the tradition, several weaving groups have been established. In many hamlets, skilled elders willingly teach the craft for free, hoping to spark interest among the youth. The S'tieng Ethnic Culture Preservation Area in Bom Bo hamlet (Bom Bo commune, Dong Nai province) has integrated basket weaving craft into its intangible heritage preservation programme, organising long-term training courses to help the S’tieng community revive and maintain the craft.

Pham Anh Tuan, Director of the Bom Bo Commune Integrated Services Centre, said: “These classes not only help generations of S’tieng people pass down their invaluable weaving knowledge, but also create opportunities to connect with community tourism. When visitors come to experience it, they not only admire but also try weaving a few bamboo joints themselves, feeling the elaborateness and meticulousness of the craft.

What the craft needs most now is a stable market. If baskets are only used for everyday purposes, the trade may struggle to survive. However, if they are promoted as cultural and tourism products, linked to the One Commune, One Product (OCOP) programme, and community experiences, they can regain new vitality. In that way, artisans can both preserve their craft and earn an income, while young people gain motivation to continue it.

The basket-weaving craft of Dong Nai’s ethnic minorities is more than a traditional trade; it is a living memory of generations, a reflection of cultural identity, and evidence of a resilient cultural spirit in modern times. Each bamboo basket not only carries produce but also holds the story of its people, from past to present. Preserving the craft means preserving the culture that it embodies. In an age of industrialisation, when machines can replace almost everything, the value of craftsmanship becomes all the more precious. Every woven joint, every pattern is not just a product but a piece of heritage. As Lam Day, Head of Baven hamlet, Loc Hung commune, said: “We preserve the craft not just for ourselves, but for our children and future generations.”

By Lyna Phan – Translated by Quynh Nhu, Thu Ha