Sabah and Sarawak Aren’t the ‘Other’ Malaysia – It’s Time Our Ad Campaigns Celebrate That
In the grand halls of Malaysian advertising, the spotlight has long favoured the Peninsula.
From Merdeka campaigns in Putrajaya to Hari Raya tearjerkers in Kuala Lumpur, the narrative arc of our national storytelling has been crafted, cast, and aired with a distinctly West Malaysian lens.
Yet, as the media reels roll on, two luminous states on the other side of the South China Sea—Sabah and Sarawak—remain largely out of frame.
It’s time we asked the uncomfortable question: Why are East Malaysian stories still underrepresented in our mainstream marketing?
Beyond Diversity: A Matter of Depth
Malaysia prides itself on multiculturalism.
But in advertising, diversity is often simplified into a predictable trio—Malay, Chinese, and Indian.
East Malaysia’s more than 60 ethnic communities—ranging from Kadazan-Dusun, Iban, Bidayuh, Melanau to Bajau Laut—are rarely seen, heard, or meaningfully engaged.
When was the last time you saw a national TV ad that centred on a Kelabit elder in Bario, a Bajau fisherman in Semporna, or a Sarawakian longhouse teacher from Kapit?
These are not peripheral stories—they are core Malaysian experiences waiting to be told.
Together, they form 20% of Malaysia’s population and over 60% of its landmass.
The demographics are young, the digital consumption is vibrant, and the loyalty to brands that understand them is strong.
In recent years, a handful of brands have begun recognising this—and the results are compelling and encouraging.
Case Study 1: Petronas – “Uni” and “Rendang Soal Hati”
Petronas, long revered for its festive storytelling, ventured into East Malaysian narratives in their Merdeka and Gawai/Kaidan offerings.
Their film “Uni” highlighted the struggles of a Bidayuh girl leaving her village for university—a quietly powerful take on aspiration, sacrifice, and identity.
It was authentic, heartfelt, and visually rooted in the Sarawakian landscape.
Similarly, “Rendang Soal Hati”, though based in a broader Malaysia, featured supporting characters with East Malaysian accents, and signalled a growing awareness of inclusivity in casting and dialect.
Authenticity isn’t built with token scenes—it’s built through grounded, culturally aware storytelling.
Case Study 2: Maxis – “Raja Monyet” Gawai Video
In 2022, Maxis released a Gawai film titled “Raja Monyet” that blended Bornean folklore with modern humour.
The film paid tribute to the Iban community’s storytelling heritage while weaving in themes of friendship and tradition.
More than a festive ad, it was a respectful nod to an entire culture that rarely sees itself reflected on screen.
The production even collaborated with Sarawakian actors and crew, bringing genuine flavour to the project.
Brands win hearts when they honour culture—not appropriate it.
Case Study 3: Grab Malaysia – “Tumpang Gawai Kaamatan” Campaign
Grab’s 2023 campaign “Tumpang Gawai Kaamatan” was a refreshing campaign that highlighted traditional harvest celebrations in Sabah and Sarawak.
It included in-app features, food promotions with East Malaysian dishes, and social content spotlighting local entrepreneurs.
What stood out was Grab’s use of Sabahan and Sarawakian dialects in their digital content and their platforming of local voices—literally and figuratively.
Inclusion must go beyond visuals—language, food, humour, and local customs matter deeply.
Case Study 4: Malaysia Airlines – “Fly Malaysia” with East Malaysian Focus
Malaysia Airlines, in its “Fly Malaysia” brand refresh, made a conscious effort to highlight the cultural richness of East Malaysia.
With ads showing the beauty of Mount Kinabalu, the cultural crafts of Sarawak, and the underwater wonders of Sipadan, they painted East Malaysia not just as a tourism spot but a proud facet of national identity.
Their Sarawak travel featurette, narrated by a local guide, was an elegant move towards authenticity.
Even heritage brands can rejuvenate relevance by shifting their narrative lens eastward.
What’s Holding Others Back?
The usual excuse—logistical complexity or “not enough reach”—is outdated.
Social media has democratised content consumption.
Platforms like TikTok and YouTube are full of East Malaysian creators with highly engaged audiences.
Truth is, most brand and agency decision-makers operate from a Peninsula-centric mindset.
Few creatives, planners, or producers from the major agencies have spent time in the longhouses or the floating villages of Semporna.
What we need isn’t just cultural awareness—it’s creative humility and curiosity.
Reframing the Future: It’s Not Inclusion, It’s Completion
East Malaysia offers a visual feast, a tapestry of voices, and a wellspring of untold stories.
This is a market that doesn’t just want to be seen—it deserves to be.
To Malaysian marketers, CMOs, and creative leaders:
Hire East Malaysian talents—not just in front of the camera, but behind it.
Collaborate with local filmmakers, dialect coaches, and historians to avoid stereotypes.
Decentralise creative control—consider regional creative leads or East Malaysia-based campaign hubs.
Embrace long-term representation, not just festive tokenism.
Sabah and Sarawak are not the “other Malaysia”—they are Malaysia.
Until our advertising reflects that truth, our national stories will always be missing a heartbeat.
The next great Malaysian campaign isn’t waiting in a Petaling Jaya boardroom—it might just be brewing in a Kuching kopitiam, on a longboat in Kapit, or at a harvest dance in Kota Belud.
The APPIES is an annual event that presents a rare opportunity for creative, media, digital and marketing agencies or brands to present their best campaigns to the industry.
This is the only event where Live Presentations meets Live Judging.
Similar to TED Talks, The APPIES is the chance for great presenters with outstanding work to show it off to some of the industry’s most important industry leaders.
This year’s winners will receive Gold, Silver or Bronze trophies for 21 categories, and 6 special Best of Best categories (red trophies) that require no submissions!
Campaign entries must have run between June 2024 to May 2025
