Searh By: Dominic Lim Tao Ran

The people of Sabah

Dusun/Kadazan The largest ethnic group is the Dusun/Kadazan which comprise about one third of the population. They are traditionally farmers practising wet rice or hill rice cultivation with some hunting and riverine fishing. The various subgroups within the Dusun/Kadazan group which include the Kadazan of Penampang and Papar, the Lotud, the Rungus and other subgroups from the Tempasuk, Tambunan, Ranau and other districts, share a common belief system with variations in customs and practice. This ethnic group uses the Kadazandusun language as their mother tongue.

Murut

The Muruts inhabit the interior and south-eastern parts of Sabah and the territory straddling the Kalimantan and Sarawak border. They are mostly shifting cultivators, and hunters with some riverine fishing.

Bajau and Kindred groups

The Bajau and kindred groups have settled on Sabah's coasts for several hundred years and have been classified as part of the indigenous population. On the west coast, they are farmers as well as fishermen, and are well known for their expert horsemanship.On the east coast,they are traditionally fishermen.

Other Other recently settled indigenous people in the state include the Suluks, various southern Filipino ethnic groups, the Lundayehs and Ibans from Sarawak and Kalimantan, and others of Malay racial stock from Indonesia. While some of these indigenous people still maintain their traditional way of life, many others have gone into public life as white and blue collar workers, businessmen, civil servants and politicians. Non-Indigenous The Chinese form the largest non-indigenous group in Sabah. They have settled in Sabah over the past century and rank the largest ethnic group after the Dusun/Kadazan.The ethnic groups are distinguished from each other by their respective customs and practices as well as their material culture especially costumes, styles and use of personal omaments.

Traditional dance in Sabah

Traditional dance is an art that can attract a big crowd. Sabah has its fair share of traditional dances which includes ritual dances as well as modern ones. Like other states, Sabah is rich in traditional dances. Among the most popular and well-known traditional dances are the sumazau, limbai, sumayau, magunatip, adai-adai and daling-daling. SUMAZAU DANCE This type of dance is one of the most well known traditional dances in Sabah as well as throughout Malaysia. It belongs to the Kadazandusun tribe. This ritual dance serves varied functions such as thanksgiving for bountiful paddy planting and harvesting, prayer against evil spirits, honouring the spirits as well as to cure illness. The movement and rhythm of this dance is elegantly soft and slow. The dancers, male and female, will face each other, move their feets in small movements and move their heels up and down to the beat of the music. While dancing the dancer will spread up their hands and move it up and down just like a bird spreading their wings to fly. The Sumazau is usually performed during festive occasions and gatherings.

LIMBAI DANCE This is an original traditional dance of the Bajau. The Limbai dance is performed during a wedding ceremony. It is an act of welcoming the bridegroom and his entourage and to invite them to the brides house. The melody and rhythmic movements of the dancer will accompany the bridegroom to the bride's house and would preceed the "ijab-qabul" or wedding ceremony. The graceful movement of the dancers wrists will sway their shawls to express their warm welcome to the party concerned.

SUMAYAU DANCE This is the traditional dance of the Dusun Lotud ethnic group from the Tuaran district where it is also known as "Madsayau". The Sumayau is the main element of a special chanting ceremony or "Mengahau" as it is called in Dusun. It is not performed in ordinary celebrations. A "Monolian", an elderly female priestess who is also a ritual specialist, would lead the dance ceremony. It is a rule of the tradition that this role is held only by the descendents of the previous "Monolian". "Mengahau" is a big affair and is usually celebrated for 5 days and nights. The purpose of this ceremony is to venerate the "gusi-gusi" (a type of antique jars believed to possess spirits) by chanting ancient ritual verses. It is also conducted to honour dead family members, similar to the "kenduri arwah" (feast for the departed) commonly observed by the Muslim Malay community.

As soon as the music starts, the dancers would sway towards the dance floor. Every movement of the hands would be in harmony with the rhythm of the music. However the movement of the feet are slower as compared to the hands. One simply walks with very small steps in an unhurried manner. The pace of the dance increase with applause from the audience.

MAGUNATIP DANCE This dance belongs to the Muruts tribe of Kuhijaw (Kwijau). The "Magunatip" word is derived from the "apit" word, which means "trapped". In this dance one must master and show their agility and dexterity in jumping and putting their feet between the clapping bamboos without being trapped. This dance does not usually require any instrumental music because the rhythmic clapping and stamping of the bamboos produce a loud, harmonised, beat and interesting sound or rhythm. This dance is usually performed to highlight any festive occasion.

ADAI-ADAI DANCE Initially "adai-adai was a song sung as a "pantun" or a quatrain by a group of people. Instead of having an ordinary musical instrument to accompany the song, a natural sound or beat is formed from paddling a boat or stamping the paddle against the side of the boat and striking a "buyong" or "keduit" (a jar made from gourd or clay). This dance belongs to the Brunei tribe in Weston, Sabah. DALING-DALING DANCE This traditional dance was brought over from the Mindanao archipelago by the Suluks and does not originate from Bajau tribe in the Semporna district. The intermingling relationship between the Bajau and Suluk in those early days resulted in the dance becoming a living heritage of the Bajau community residing in Semporna. The phrase "daling daling" actually originated from the English word "darling". The main characteristic of the dance is the interchange of quatrains between the male and female dancers and is usually performed as an entertainment in various occasions.

(Sabah traditional handicraft)

Functional Handcraft among the indigenous people of Sabah originates in their efforts to shelter, clothe and feed themselves in the best way they can. They produce a wide range of items which are mainly for functional rather than for decorative use. These include household and domestic items and implements, farming and hunting equipment as well as ritual and ceremonial objects. Their handcrafts are traditionally influenced by both environmental resources and culturally determined needs. Variety There is wide variation between the crafts produced by peoples of different cultures in the various districts. Coastal peoples relying on sea fishing, for example, have created different implements from those of the interior groups which practise hill or wet rice cultivation and forest hunting with river fishing. Differences also exist between the material cultures of peoples utilising wet rice and those cultivating hill rice. The differences apply not only to utilitarian implements, but also to ritual objects, musical instruments and other features of material culture. Materials The availability of local materials also influence the nature of handcrafts. In the Tambunan District, for example, the use of bamboo for making utensil, baskets, houses (including roofing) and fencing is widespread amongst the Tambunan Dusun/Kadazan. Similarly, the location of bitter gourd produced in Tambunan has helped to establish this place as a centre for the production of sompoton, mouth organs which are traded throughout other Dusunic groups, although these intruments are sometimes made in other places. Rattan is another durable material widely used by interior peoples with access to forest resources for making hats, baskets, decorative wall hangings and for binding wood or bamboo pieces together. Material for traditional clothing are also derived from local plants, and include bark, cotton, or fibres derived from pinapple, banana or coconut plants. Types Men and women traditionally make different types of handcrafts. In the interior, women are largely responsible for hat making, mat and cloth weaving, embroidery, the manufacture of small baskets, winnowing trays and other articles which they use in their daily lives; while men make larger baskets, parang, ploughing and hunting implements, nets and other fishing articles, and weapons. Amongst coastal fishing communities, men construct boats, carve wood, and prepare fishing devices, while women weave and embroider cloth, weave sleeping mats and others. Tradewares Formerly, articles were created mainly for domestic usage and their basic designs reflected their functional purpose. Surplus items were sometimes traded at market gatherings for other commodities. In this way, imported tradeware such as jars, beads, brassware, brass or bronze gongs, and handcrafts produced by coastal peoples, found their way from the coasts into the interior of the island of Borneo. With increasing access to the outside world, scarce materials are sometime substituted by cheaper imported items in the production of traditional articles. Thus, rare glass beads have largely been replaced by cheaper plastic beads in producing local beadswork and costume decoration. Inexpensive imported cotton threads are now used in embroidery and weaving. Imported cotton cloth and nylon-backed black velvet have virtually replaced traditionally made cloths in costume manufacture. Basketry One of the most widely practised handcraft in Sabah is basketry as these items are used by nearly all ethnic groups. The styles and types of baskets vary according to their function and to the tradition of the people who make them.The vast array of artifacts have now been adapted and manufactured for tourist souvenirs although some of these articles still maintain their original shape and style.

West Malaysia traditional game

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Wau (Kite Flying) See the dazzling display of kites gliding and swooping across the azure sky! Once played by farmers on leveled ground after post-harvesting season, it now attracts people from all walks of life. Over the years, kite festivals have encouraged creativity in kite-making, thus resulting in kites that are designed in the shape of a fish, cat, caterpillar, and bird. But the Kelantanese wau-bulan (moon-kite) still remains as popular as it was years ago.

Sepak Raga Bulat (Rattan Ball Game) Once a game of village youths, sepak raga bulat has become a popular sport among the young urban males. Players standing in a circle keep a rattan ball aloft with any part of their body except their hands. The ball is kept in constant motion without hands touching it. Chingay (Balancing Giant Flags) Malaysians of Chinese descent who are known for their acrobatic skills, display their prowess during the Chingay Procession, which is associated with the year-end Penang Festival. Performers balance huge poles with enormous triangular flags, on their forehands, chins, lower jaws and shoulders. Gasing (Giant Top Spinning) Giant top spinning is no childs game! Each gasing or top weighs approximately 5kg. It calls for strength, coordination, and skill. The gasing, if expertly hurled, can spin for as long as 2 hours. Top spinning competitions are an annual feature in the east coast of Peninsular Malaysia especially Kelantan and Terengganu. Congkak (Board Game) Congkak is a game of wit played by womenfolk in ancient times that required no more than holes in the earth and tamarind seeds. Today, it has been refined to a board game. It consists of a wooden board with two rows of five, seven, or nine holes and two large holes at both ends called home. Congkak, played with shells, pebbles or tamarind seeds, requires two players.

People in West Malaysia

The Orang Asli consist of 19 ethnic sub-groups officially classified for administrative purposes as Negrito, Senoi and Aboriginal Malay. They number 133,000, representing a mere 0.7% of the national population. In spite of their small number, the Orang Asli are not homogeneous, each group having its own language and culture and, most importantly, perceiving itself as different from the others. They also have different ways of life and livelihoods, with some groups (e.g. Orang Laut, Orang Seletar and Mah Meri) living close to the coast as fisherfolk, some (Temuan, Jakun and Semai) adopting permanent agriculture, planting cash crops such as rubber, oil palm or cocoa, while many (around 40%, including Semai, Temiar, Che Wong, Jah Hut, Semelai and Semaq Beri) continue to live close to or within forested areas and engage in swidden farming, hunting and gathering. Some groups from the Negrito branch (e.g. Jahai and Lanoh) are still semi-nomadic, preferring to take advantage of the seasonal bounties of the forest. With the growth of urban centers and their intrusion into the lifestyle of the Orang Asli, a fair number now also live in urban areas and are engaged in both waged and salaried jobs.

Traditional dances in West Malaysia

Sumazau
Every tribe in Malaysia has its own traditional dance. The Sumazau is the traditional dance of the Kadazans and is usually performed in traditional costumes called sinuaga and peformed by the Kadazan farmers in a special ceremony to receive the Bambaazon - the spirit of the rice which they believe to be present in their homes. This travel is organized by Sunbee Tours for Xavier University, Philippines, on an educational tour to Southeast Asia.

Kuda Kepang The Kuda Kepang is a very interesting dance from Johor.The dance was once a form of totemic worship.The dance had strong links with spirit possession and often dancers went into a trance-like state. However with the Islamisation of Malaysia, this dance now generally renders the tale of nine Javanese men who spread the Islamic faith in the interior of Java. The nine Muslim evangelists rode on horseback and dramatized stories of the battles waged and won for the cause of Islam to draw and hold the attention of the congregation. Kuda Kepang is performed by nine dancers who are seated astride a two dimensional 'horse' made of hide or pleated rattan.The dancers re-enact the early Islamic battles in enthusiastic gestures and vigorous action. Naturally as time as moved this dance is seen very much more for its entertainment value. This dance is performed in accompaniment to a rich and exotic rendition of traditional music played with indigenous instruments such as gongs, tambourines and angklungs.

The Mak Yong is a dance drama, a comprehensive theatre performance combining dance, opera, drama and comedy. The theatre is believed to have originated from Kelantan several centuries ago as a popular court entertainment. It is a unique theater form that perhaps can be likened to the modern musical theatre genre found in western theatre.

The most important dance in Mak Yong performance is Mengadap Rebab dance sequence which now lasts anywhere between 10 to 15 minutes and is performed at the beginning of every performance. It is divided into four sections: namely, sitting, kneeling, squatting, standing and walking. The lead dancer and the supporting dancers must be able to sing the haunting melody. Except for three men, all the characters in a Mak Yong are played by women. It is the main dancer, called Mak Yong who develops the story which usually about legendary princes and princesses from tales of Old handed down by word of mouth. The Mak Yong is supported by a cast of 16 performers and backed by a traditional music ensemble consisting of gongs, drums and rebab. Music and melody add colour to the dance. There are always at least 2 clowns the peran who are continuously beaten with a short bamboo cane by the lead actor. Their make-up is very distinct especially around the eyes.