Sarita are very long, narrow cloths, sometimes as much as twenty feet in length, in which multiple paired rectangluar panels are filled with motifs executed in either deep indigo blue or brown. These are typically interspersed with small stylized scenes of everyday life and human activities.

Foremost among Iban textiles is the pua, often described as a warp-ikat patterned blanket, which is used in many different ritual contexts, always with the connotation of beneficence—even protection.

Although this superb looking glass has a history of American ownership, like the great majority of similar examples which graced Colonial houses, it was made in England.

These cloths are a type of textile known as pua sungkit, a term that refers to their production technique, that of weft wrapping.

Known in the literature as kelambi sungkit, or sungkit jacket, this type of war vest is called baju kirai by the Saribas Iban.

The simple and bold conception of this mawa', painted in indigo on homespun cotton, results in an inspired work of art from the humblest of motifs—the tadpole (bulintong).

It would be a grave misunderstanding to underestimate the weaver's worldview and limit her lexicon of motifs, patterns, and designs to just that of innocuous flora and fauna, especially in the case of master weavers who have deep knowledge of the full range of Iban mythology—and the cryptic names of the entire cosmology of Iban deities, literally, at their fingertips.

When an Iban weaver has distinguished herself by weaving animal forms, her next ambition is to weave the ultimate: spirit representations.