Sabah Traditions and Culture

Sabah Traditions & Cultures

Verification of Report

All form of writings in the report illustrates my views and opinions based to the

application of learned experiences and theories during the period of the industrial training

only. The organization is not bound to any content of the report.

Sabah Traditions and Cultures

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Acknowledgement

The purpose of conducting this research, is to study the various ethnics that exists

in Sabah especially its traditions and cultures. Trainees also may take the advantage to

experience folklore dances of Sabah, understanding more in-depth about what every

ethnics has to offer to the society. As trainees in the tourism industries, it is important to

know and aware of the cultures that roam in Sabah and contributions of Sabah Cultural

Board towards its effort to promote, preserve, and develop traditions and cultures of

Sabah.

Hence we would like to take this opportunity to express our gratitude to Mr.

Francis Chin, the General Manager of MoreAsiaTravel, for his support and

encouragement to let us be independent and learn more regarding traditions and cultures

of Sabah; to Mr. Joisin Romut, Manager of Research, Communication and Corporate

Services Division of Sabah Cultural Board, for his positive responses in meeting our

application for research and interview for SIFF event: and to Mr. Jason Blasius, and all

the personnel of Sabah Cultural Board, for their helpful cooperation, material support and

advices. Also, we would like to thank to our friends, families and senior co-workers; for

their endless supports, either in the form of morals, finances and material support. The

success of finishing this report could never have been reached without everyone‟s help.


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Executive Summary

The objectives of this paper is to understand more in-depth about every ethnics of

Sabah especially its traditions and unique cultures, and contributions of Sabah Cultural

Board towards promoting, preserving and developing by focusing upon Sabah

International Folklore Festival. In this paper information that will be discussed are the

ethnics of Sabah, Sabah traditions and cultures, contributions of Sabah Cultural Board,

Sabah International Folklore Festival and about other organization that strive to enhance

Sabah cultural development.

Inhabiting multi kinds of ethnics, Sabah main ethnics consist if the Kadazan-

Dusun, Bajau, Murut, and Rungus. Differences among these ethnics can be identified

through their dialects, religions, customs, and their way of life.

Organization that strives to promote, preserve, and develop traditions and cultures

in Sabah, is Sabah Cultural Board, a government owned organization that was establish

in year 1996. SIFF were one of its major activities to achieve its mission. The main

objective of the SIFF is to promote culture tourism among participating countries and to

introduce the state‟s unique cultures for international tourism.

There are also many other organizations that strives on the cultural development

of Sabah. For example Sabah Museum and Kadazandusun Cultural Association Sabah

(KDCA). Sabah Museum contributed by exhibiting and display for the people today and

future. Meanwhile, KDCA‟s Triennial Delegates Conference is where the various

Kadazandusun multi-ethnic representatives discuss major issues affecting them and their

future and take up both individual and collective stand and actions to resolve common

challenges. But despite all these, there is still a need for the wide population of Sabah, to

actively involve in these efforts in the long term. Because the right place for truly

preserving traditions and cultures of Sabah is through them.


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Content

Title Pages

1.0 Introduction 5

2.0 Ethnics of Sabah 7

2.1 Kadazan-Dusun

2.2 Bajau

2.3 Murut

2.4 Rungus

3.0 Sabah traditions and cultures 10

3.1 The Kadazan-Dusun 11

3.1.1 Traditional dance

3.1.2 Traditional costumes

3.2 The Bajau 15



3.3 The Murut 17



3.4 The Rungus 20



4.0 About Sabah Cultural Board 24

4.1 Activities of Sabah Cultural Board 24

4.1.1 About Sabah International Folklore Festival (SIFF)

4.1.2 Fourth SIFF

4.1.2.1 Program Tugu Budaya

4.1.2.2 Culture for Peace

5.0 About other organizations that strives on cultural development 29

6.0 Conclusion 30

References

Appendix


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1.0 Introduction

Fondly known as „Land below the Wind‟, Sabah is blessed with amazing wonders

of nature which includes its island, beaches, coral reefs, rivers, wetlands, forests, and

mountains. Besides rich in biodiversity, Sabah is also rich in traditions and cultures of its

indigenous communities, for there are more than 30 groups of ethnic communities,

besides the Chinese, Malays, and Indians race. Their richness of the traditions and

cultures in Sabah is expressed in differences between the traditional dress, dance, music,

and handicraft of the various ethnic communities.

Ethnics, traditions and culture are intimately connected to one another. None of

them could exist without one another. Each one of the differences clearly reflects the

identity of each racial-group. Handicrafts, dance, music, and dresses are defined with

their own meaning and beliefs according to its ethnic. For example, Sumazau dance is for

appeasing rice spirit of the Kadazan-Dusun and Mogunatip dance is to honor the Murut

warrior for their victory of war.

Nowadays, in this modernized world, most of the uniqueness of traditions and

cultures from the olden days are disappearing leaving only memories. Much of the olden

days thinking, practices and beliefs, begin to change along with the dynamic movement

of urban technologies, and faster pace of life. People are beginning to forget the positive

values of each ethnic‟s values, caught up with busy life, and slowly forgetting their

origins and ancestors. Fame and fortune are what today‟s people are looking for. Maybe

in the near future, without combined efforts to preserves the traditions and cultures of

Sabah, the younger generations will no longer recognize their unique heritage, as the

most valuable and priceless than any fortune. Hence, lose their real identity and

moderation in the midst of this modern, fast changing world and lifestyles.

Almost all the people of Sabah nowadays have undergone modernization and

mainly, most of them are the local people of Sabah. Realizing the importance of

preserving the traditions and cultures of Sabah since 1986, the state government of Sabah

has officially established Sabah Cultural Board in the year 1996, to support the cultural

development of Sabah. Reminding the people of Sabah for generations, of the heritage


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they have and help treasure them, so traditions and cultures can become as part of this

changing world, remembered forever.

Therefore we need to humble ourselves towards understanding one another‟s

traditions and cultures, for there is a lot that can be learned from one‟s traditions and

cultures. Every bit of efforts we put forward can contribute towards peace and harmony

for our nation and others too.


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2.0 Ethnics of Sabah

Ethnic are characteristic of a people or a group (ethnic group) sharing a common

and distinctive culture, religion, language, or the like. In Sabah, multi ethnic groups can

be found including the Kadazandusun, Bajau, Murut, Kedayan, Bisaya, Irranun, Rungus,

Kimarang, Kwijau, Lundayeh, Ubian, Binadan, Orang Sungai, Tatana, Tagaas, Brunei,

Suluk and others. The main ethnics of Sabah consist of the Kadazan-Dusun, Bajau,

Murut, and Rungus.

2.1 Kadazan-Dusun

Kadazan-Dusun word comes from the combination of the Kadazan ethnic,

Dusun ethnic, and also from other sub- ethnics. They are the largest ethnic group

in Sabah. This ethnic speaks variety of languages and dialects, and exercised

unique traditions and cultures. The Kadazan-Dusun ethnic stems into 27 sub-

ethnics. Some of them are the; Dusun Liwan, Dusun Tindal, Dusun Pahu, Dusun

Lotud, Bagahak, Dusun Labuk, Dusun Kimaragang, Tagahas, Tangara, Dusun,

Rungus, Orang Sungai, Kuijau, Tambanuo and more.

The Dusun ethnic represent one third of the population of Sabah. They

usually lives in the west coast of Sabah like, Penampang, Papar, Tuaran, Kiulu,

Tamparuli, Tenghilan, Kota Belud, and the valley Ranau, Tambunan and

Keningau. Traditionally, the Dusun is the traditional farmer plants padi, and some

of them hunts and catches fish by the river. Usually, their settlement lies in the

valley of west-coast and in the rural areas.

Generally, ethnics that were mentioned above came from districts of Kota

Marudu, the Lotud from Tuaran, the Sungai from Kinabatangan, Sugut, Paitan,

and Pitas districts. The Lotud ethnic, lives in the south-west cost of Sabah,

especially Tuaran,Tamparuli, Telipok, and Tampasuk of Kota Belud. They live

collectively by living in the long house with several families inside, ranging from

150 to 200 people. Nowadays, long houses are rarely to be seen with this ethnic.

(Source: http://ms.wikipedia.org/wiki/Kadazan-Dusun).

http://ms.wikipedia.org/wiki/Dusun_Liwan

http://ms.wikipedia.org/wiki/Dusun_Tindal

http://ms.wikipedia.org/wiki/Dusun_Pahu

http://ms.wikipedia.org/wiki/Dusun_Lotud

http://ms.wikipedia.org/wiki/Dusun_Lotud

http://ms.wikipedia.org/wiki/Bagahak

http://ms.wikipedia.org/wiki/Dusun_Labuk

http://ms.wikipedia.org/w/index.php?title=Dusun_Kimaragang&action=edit&redlink=1

http://ms.wikipedia.org/wiki/Tagahas

http://ms.wikipedia.org/wiki/Tangara

http://ms.wikipedia.org/wiki/Dusun

http://ms.wikipedia.org/wiki/Rungus

http://ms.wikipedia.org/wiki/Orang_Sungai

http://ms.wikipedia.org/wiki/Kuijau

http://ms.wikipedia.org/wiki/Tambanuo


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Below are some of the examples of language translation from English to

Kadazan language:

English Kadazan

Good morning, how are you? Kopivosian doungosuvab, onu abal nu?

I am fine. How about you? Avasi. Poingkuo gia iziau?

Have you been to Mount Kinabalu? Nokongoi ko nodi doiho Nuhu

Kinabalu?

2.2 Bajau

The Bajau ethnic, had already been living in the east and west coast of

Sabah for couple of centuries before, and are recognized as the original settler of

Sabah. They work as a farmer and fisherman for a living, in the west coast of

Sabah. They are also famous for their diving skills and horsemanship, and usually

called as Sabah Cowboy‟s. In the east coast, they live in Kota Belud, Papar,

Semporna and Tuaran districts, as fisherman. (Source:

http://ms.wikipedia.org/wiki/Bajau)

Due to the nomadic marine lifestyle, the Ubian Bajau, are less devoted to

orthodox Islam. They practice more of a folk hybrid, revering local sea spirits,

known in Islamic terminology as Jinn. (Source:

http://en.wikipedia.org/wiki/Bajau)

Below are some of the examples of language translation from English to

Bajau language:

English Bajau

They took turns stomping down on it

(the unhusked rice).

Be-gilir-gilir pan gai eng-giok-on e.

He was search for there as well. P-in-emia pan iyo me

It was fortunate that her husband was

there.

Alap pan ella =ni uun me.

(Source: http://dspace.uta.edu/bitstream/10106/577/1/umi-uta-1776.pdf)

http://en.wikipedia.org/wiki/Folk_religion

http://en.wikipedia.org/wiki/Jinn

http://dspace.uta.edu/bitstream/10106/577/1/umi-uta-1776.pdf


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2.3 Murut

The Murut ethnic settlements are situated at the interior, south-east and

near the barrier that separates between two countries of Kalimantan and Sarawak.

Most of them are concentrated in the districts of Tenom, Rundum, Pensiangan and

Keningau. They live together with other families in harmony, inside longhouse.

Traditionally, most of them work as shifting cultivators, hunters, and fisherman

by the river bank, for a living, besides collects forest yields like rattan, and honey.

(source: http://ms.wikipedia.org/wiki/Murut).

Majority of the Murut ethnic today practices Christianity and some

practice Islam religion. Here we can see that even among the Malaysia‟s ethnic

are diverse in religion but still live in harmony. Below are some of the examples

of language translation from English to Murut language:

English Lowland Murut.

„Tunu‟s father‟ áma§ ÷ ִ it.nu

„drink this!‟ inúm]§ píti

„will inform‟ mambála§

(source: http://pluto.huji.ac.il/~msyfalk/WordStructure/Murut.pdf)

2.4 Rungus

Besides being the local ethnic of Sabah, the Rungus ethnic also one of the

original settler of Borneo island. The Rungus, usually known as Dayak Dusun,

Dayal Laut, Momogun, Momogun Rungus, Momogun Laut, Dusun Laut or

Rungus. Momogun Rungus that lives in the area of Kudat, Kota Marudu, and

Pitas, consist of several sub-ethnics like; Rungus Kirangavan, Rungus Pilzapazan,

Rungus Gandahon, Rungus Gonsomon, Rungus Nulzuw, Rungus Tupak or Rungus

Melobong. Whereas, Momogun Rungus that settled outside these districts were

known as Rungus Piromitan, and Rungus Tindal-Sondot. (source:

http://wapedia.mobi/ms/Rungus). Below are some of the examples of translation

from English to Rungus language:

English Rungus

Nice at far Tarajang timpan

Walking by the farm Manau-panau sid isan do tagad

What are you doing there? Monguro-nguro kou ka dino?

http://ms.wikipedia.org/wiki/Murut


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3.0 Sabah traditions and cultures

Tradition is a mode of thought or behavior followed by a people continuously

from generation to generation; a custom or usage. Meanwhile, culture is the totality of

socially transmitted behavior patterns, arts, beliefs, institutions, and all other products of

human work and thought.

There are 32 indigenous groups in Sabah, and each one of them has their own

traditions and cultures starting from their traditional customs to their dressing styles.

Even now, the original design and color of their dressing are still been retained.

Differences among these groups or ethnics can be identified through their dialects,

religions, customs, and their way of life.

Referring to tourism Malaysia‟s book of Heritage and Crafts, many different

ethnic groups in Sabah exhibit various traditional costumes that are unique to the state.

Each group adorns attire, headgear and personal ornaments that have distinctive forms,

motifs and color schemes characteristics of their respective tribe and district. However,

culturally different groups who live in close proximity may have similarity in their

traditional attire.

Hats and headgear are particularly interesting, especially the Kadazan-Dusun

ladies‟ straw hat designs, the Bajau woven dastar headgear and most peculiarly, the

Lotud man folds his headdress with the number of points signifies the number of wives

he had.

Many of these traditional costumes dyed with black due to limited source of dye

extracts in the past, like vegetables and plants only. Colorful beads were then sewn to add

more color to their dresses. Ethnics in Sabah, uses black stems to color their costumes

into black. They believe that black is the color of god, and can protect the wearer from

the evil spirits.

Most traditional costumes are passed down from generation to generation and was

considered as priceless and very valuable costumes, with antique accessories of silver

jewelries, old silver belts of coins, and bead necklaces.


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Next will be discussed is the traditions and cultures of the main ethnics of Sabah,

that consist of the Kadazan-Dusun, Bajau, Murut, and Rungus.

3.1 The KadazanDusun

The KadazanDusun ethnic shares a common animism. In the ancient time,

they believed that all things, from rocks to trees are alive, and believe that these

things must be appease from time to time.

The Kaamatan festival carries a big meaning for the Kadazandusun Murut.

The Kadazandusun Murut is a society which is synonymous with farming where

their main economic activity is farming, besides livestock rearing and hunting.

The main crop, which provides the main food for the Kadazandusun Murut

community is rice. The type of padi grown is hill padi and also those grown in

padi fields.

According to the Huminodun legend, a massive disaster, involving a

serious drought occurred to the extent that nothing could be grown to provide

food for the people. Realising this, 'Kinoingan' sympathised with the fate that

befell the Kadazandusun Murut, who were without food. So, to overcome the

problem, Kinoingan decided to sacrifice his daughter, 'Huminodun", and from her

sacrificial body grew various crops, like padi, and maize. Hence, the Kaamatan

festival, celebrated after the padi harvesting season, is a tradition of thanksgiving

for Kinoingan and Huminodun, who are rice spirits known as 'bambarayon'.

Among the activities held during the Kaamatan festival is the 'Magavau'

ceremony to pray for the rice spirit and also the selection of the pageant queen or

the Unduk Ngadau Kaamatan to commemorate the sacrifice and positive values

gathered from the Huminodun legend.

(Source: http://www.dailyexpress.com.my/news.cfm?NewsID=65341)

In the terms of wedding, the groom‟s family negotiated with the bride‟s

family. Dowries are given by the groom, and the house of the groom, will the first

place to start the wedding ceremony, before the bride‟s. During the wedding, the


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newly wedded couple, seats at the centre of the house. With the bride sitting to the

left of the groom, rice was then served from a wok, believing that they shall

always have plenty of rice. Each one of them will feed one another with a ball of

rice. This is to symbolize the unification of different blood. There‟s a forbiddance

during the wedding day, that is the bride and groom must not eat buffalo meat, or

else, the wife will not be able to conceive.


The Kadazan-Dusun are also very well known for their Sumazau

dance. The rhythm of this dance is slow following the beat of the Gong,

with the dancers moving their feet with small movement. The hands of the

dancer were spread into an eagle like wing, moving up and down. The

purpose Sumazau dance is to celebrate harvest festivals and giving honor

to the rice spirit. Dance perform also believed can cure illnesses. Sumazau

dance also were perform during ceremonies like weddings and gatherings.

(Source: http://en.wikipedia.org/wiki/Murut_people)


For the part of the traditional costumes of the Kadazan-Dusun,

they were usually worn daily, in ceremonies like weddings and rituals. But

nowadays, it is only worn during on special ceremonies only and no

longer worn daily.

Costume of Women:

Name Details

Sinuangga' Blouse with short sleeves and U-neck worn by younger

women. Sober embroidery along the opening for head and

arms, and along the seams at the sides and along the middle

of the back: red, yellow and cream cotton yarn. Main

stitches: sinusuk bulus (chain stitch), tantop (flanel stitch).

A flanel stitch technique is also used to make binuunsi', a

narrow band of needle weaving in red and yellow looking

somewhat like shoelace. Betawi buttons are looped through

a string on the inside. This way, the valuable buttons can be

used for various blouses. Betawi buttons used to be fixed all


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the way up to the neck for ceremonial occasions and half

way up from the lower end of the blouse for daily wear.

Nowadays, this appears not to be differentiated. The buttons

are tied together from the top down to the bottom of the

blouse with a cotton thread.

The gold-plated silver Betawi buttons were a status symbol

for the Kadazan Penampang. If one could afford a set of

thirty buttons (sonsolobuan), one was considered a wealthy

person.

Sinompukung Blouse with 3/4 sleeves. No embroidery. Usually worn over

the sinuangga' like a jacket when the wearer goes out of the

house, such as to visit a friend. Nowadays, the

sinompukung is often embroidered and worn by older

women as a blouse instead of as a jacket as in the olden

days.

Kihongon Blouse with long sleeves, worn by elderly women and

female ritual specialists/priestesses or Bobohizan during

ceremonies. The embroidery is similar to the one on the

sinuangga'.

Simis "Chemise"—a white cotton underblouse. Sometimes just a

white kerchief is tucked into the U-neck.

Tapi' Long cylindrical wrap-skirt, formerly of plain black cotton.

Nowadays often enlivened with siring: gold trimming,

running over the hips, in front of the skirt, crossed by

another band of trimming from the waist down.

Accessories:

Name Details

Himpogot

Silver "dollar" belt. A maximum of three are used

depending on personal wealth, one around the waist and the

other two above and below the tangkong.

Tangkong Hip-belt of approximately 84 embossed brass rings on rattan

strings (hindavog). Three tangkong are worn together,

alternately strung with red (hindagang), black (initom) and

red rattan strings for unmarried girls and all black for

married women. The string is always "bare" somewhere at

the back to avoid asampon (lack of breathing space). Later

in life the tangkong are stretched out for various reasons,

one of which is so that it is easier to carry a back basket.

Titimbak Hairpin to decorate and fasten the hairbun.

Tiningkokos Brass or silver spiral bracelet.

Gohong Brass or silver bracelets.

Hamai Necklace.

Simbong Earrings.

Paun Brooch of gold coin(s).


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Siga do

bobohizan

Worn during rituals/ceremonies by the Bobohizan. It is an

ornate headdress that is made from feathers of peacocks or

turkeys. The plumage is tightly packed together and sewn

onto a wide band of cloth. The feathers form the support and

shape of the headdress, which when seen from the front is

almost wholly covered with the cloth that fans outwards

from the head. From the back however, these feathers are

almost wholly visible. The wide band of cloth to which the

feathers are sewn is decorated with multicoloured applique,

embroidery and beads. Andavi do tandaa' or long-tailed

feathers of roosters are also sewn at the front of the cloth.

The tip of each of these feathers is tied with several small

pieces of colourful cloth. From the lower part of both sides

of the headdress are sewn several long loops of coloured

beads which hang down to the front/chest. The headdress is

secured/tied by cloth at the back of the head. The headdress

is approximately one and a half feet in height.

Husob A colourful cloth worn by the Bobohizan over one shoulder

and across the body. Usually two husob are worn together

cries-crossing each other

Costume of Men:

Name Details

Gaung Long-sleeved shirt without embroidery. Nowadays it is

decorated with gold trimming and gold buttons.

Souva Black trousers with wide indigo-blue waistband. Gold

trimming on the seams along the hips for modern trousers.

Kaking or toogot Black waist sash.

Siga Headcover of handwoven kain dastar, folded or twisted in a

number of distinctive ways: Hinopung (hopung = python):

twisted model Kinahu' (kahu' = potholder): folded model

Sinimbitan or tinahanuk: only one small corner sticking out.

Tupi' sinikat Circular hat of sturdy string made with the coil and tie

technique to support the siga.

Source : 1) An Introduction To The Traditional Costumes of Sabah edited by Rita Lasimbang &

Stella Moo-Tan, Published by Natural History Publications (Borneo) Sdn. Bhd in

association with Department of Sabah Musuem, 1997.

2) Busana Traditional Etnik Sabah, Government Printing Department, Kota Kinabalu,

Jawatankuasa Penerbitan Risalah Busana Traditional Etnik Sabah, 1993).


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3.2 The Bajau

The Bajau people are very skilled in horsemanship besides in weaving and

needlework. They are famous in Sabah as „Cowboys of the east‟, for their

horsemanship.


Limbai dance 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

bride‟s 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.

Daling-daling dance were also danced by the bajau ethnic. 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.(Source:

http://www.sabah.org.my/bi/know_sabah/traditional_dance.asp)


During special occasions, the Bajau Horseman Wears a black,

sometime white, long-sleeved shirt called bady sampit, Smart, gold

buttons betawi run down the front opening and the shirt is also decorated

with silver flowers called intiras. The trousers are more tight-fitting than


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the Bajau bridegroom‟s seluar sama, The horseman‟s seluar sampit is

black, and both the shirt and trousers have gold lace trimmings sewn on.

He also wears a headpiece podong similar to the Bajau bridegroom‟s.

The Bajau horseman wears a silver-hilted dagger karis at his side.

The sheath is made of wood and silver. He also carries a spear bujak and a

shipping crop pasut. Perhaps the most interesting thing about the Bajau

horseman is his horse, or rather pony. It has its own costume and is more

gaily dressed than the rider. The outfit kain kuda almost completely covers

the pony except for holes for the eyes and nose. This cloth is tied around

the pony‟s legs to keep it in place.

The saddle sila-sila is not like the cowboy saddles of the west but

rather a smaller piece of buffalo hide so shaped to fit the pony‟s back. A

thick piece of cloth Lapik is placed under the Sila-sila. Antique brass bells

Seriau, Colourful reins Tingalu and bridle Kakang all make for a very

festive pony costume. In all their finery, both ride and pony become quite

an attraction. (Source: http://www.sabahtourism.com/sabah-malaysian-

borneo/en/culture/7-the-bajau/)

Costume of Women:

Name Details

Badu sipak Brightly coloured satiny blouse, usually yellow. The flared

sleeves show the cuffs of an underblouse in contrasting hue.

The flared sleeves are two inches longer than the out-

stretched arms and hands. Used for weddings. Betawi buttons

in front, sometimes also on the sleeves.

Badu sampit Brightly coloured long-sleeved satiny blouse, used for formal

occasions.

Kain mogah Long handwoven wrap-skirt, with horizontal stripes, usually

red and black, with supplementary weft motifs. Worn at

weddings.

Olos berangkit Full-length black wrap-skirt with a wide vertical panel of

berangkit in front. The motifs are stylised: bunga kapas

(cotton flower) and pucak rebung (bamboo shoot). This

exclusive wedding garment has become very rare nowadays.

Selendang Scarf over the shoulders.


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Accessories:

Name Details

Mandapun Flat cloth-covered collar-ornament accentuating the

neckline decorated with stylized leaves in silver, goldleaf or

substitute.

Sarempak Two-piece head decoration in the shape of a ship made of

gilded silver or modern substitute. Small ornaments

dangling down from both ends are called garigai. The

ornament is fitted around the hairbun on top of the head,

three fingers away from the hairline.

Galang Silver bangles.

Subang old or silver ear pendants.

Keku Long tapered, gold, silver or brass fingercovers worn by the

bride.

Ingkot pangkat Lat Silver coin belt with a wide buckle.

Costume of Men:

Name Details

Badu Brightly coloured satiny blouse, usually green, with flared

sleeves showing cuffs of underblouse in contrasting hue. The

flared sleeves are two inches longer than the out-stretched

arms and hands. Used for weddings. Betawi buttons in front,

sometimes also on the sleeves.

Suar Trousers made of similar material in contrasting colour and

red trimming. Black for weddings.

Tanjak Headdress of folded kain dastar (used for weddings). Podong,

used by horseman.

Ingkot pangkat Silver coin belt with a wide buckle with an attachment called

supu which is a round silver Bajau cigarette case.

Selendang Sash tied around the waist.

Notes: The name betawi may refer to Batavia, present Jakarta and the

former capital of the Dutch Indies. Similar buttons were in fashion in the

Netherlands and are still part of some Dutch traditional costumes.

(Source: http://www.sabah.org.my/bi/know_sabah/culture_costume.asp)

3.3 The Murut

Traditionally before the activities of headhunting were banned, the Murut

ethnic, spiritually believe in headhunting practices. It is a custom of collecting the

head of its enemies and also as a „pass‟ for a man to get marry to the daughter of a

Murut family. Besides hunting and fishing, the Murut also works as a shifting

http://www.sabah.org.my/bi/know_sabah/culture_costume.asp


18

cultivator, hill paddy and tapioca planter. In terms of occasions like, Murut

wedding or funeral feasts, it can last for several days.

River is part of their daily life. Most of the time, they live in communal,

within longhouses by the river, and used rivers as their connective paths from one

place to another. For them, ancient Chinese jars hold a prominent status in Murut

customs. Jars are also a place of spirits, and larger jars were formerly used as

coffins. But now, after converted to Christian fundamentalist, the Muruts no

longer practices headhunting, but they still maintain their culture. Some of them

also have taken up Islam as their religion.

3.3.1 Murut traditional dance

Magunatip dance belongs to the Murut‟s 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.

(Source: http://www.sabah.org.my/bi/know_sabah/traditional_dance.asp)

3.3.2 Murut Traditional costumes

Traditional dress for men was a jacket made of tree bark

(Artocarpus tamaran), a red loincloth, and a headdress decorated with

Argus pheasant feathers. Women wore a black sleeveless blouse and

sarong, which fell just below the knees. Like most of the other indigenous

groups in Sabah, the Murut decorated their clothing with distinctive

beadwork and also made belts out of old silver coins. Another belt made

of reddish-brown glass beads plus yellow and blue beads were hung

http://en.wikipedia.org/wiki/Pheasant

http://en.wikipedia.org/wiki/Sarong

http://en.wikipedia.org/wiki/Beadwork

http://en.wikipedia.org/wiki/Silver


19

loosely around the waist. (Source:

http://en.wikipedia.org/wiki/Murut_people)

The costumes for women are short, black, sleeveless blouse and a

long wrap skirt of black decorated with colorful beads. Below are the

details of explanation of their women‟s costumes.

Name Details

Pinongkolo

Traditional costume of women comprising a blouse and a

long wrap-skirt of black cotton, and decorated with

beadwork. The decorated blouse is called babaru linantian

and the wrap-skirt tapi’ linantian.

Pipirot

Belts of silver coins (pipirot linggit) and various type of

beads. Most popular being the aki' nampalur, kotos,

bungkas, aki’ and olod.

Salupai

A headdress of several rows beads. When there are many

strings, there are shaped into a round skullcap. The salupai

functions as a support for the sinikot.

Sinikot

A set of three hairpins, with the sinikot tataun in the middle

and two sinikot surai on both side of the hairbun. The larger

sinikot tataun has the longest strings of tiny beads floating

downwards to the middle of the back.

Rarangkol

Necklaces of various types of beads usually in certain order

according to the length: bungkas, kotos, aki’ pangungupu’,

bulul and olod, etc.

Holong

A pair of bracelets. If made from shell (probably the shell of

the giant sea calm), they are called holong silou.

The Murut costume for men comprised a jacket made of tree bark

Artocarpus tamaran, a red loincloth and a headdress also made of tree bark

decorated with Argus pheasant feathers. Below are the details of

explanation of their men‟s costumes.

Name Details

Babaru puputul

Bark vest. The bark comes from the puputul tree (artocaprus

kunstleri). It is cut lengthwise to fashion sleeveless jackets

and loincloths. The fiber of pineapple leaves was used and

decorated with simple beadwork motifs.

Aba puputul

Loincloth of approximately 2 meters long made of inner

back of the puputul tree. The fabric is passed between the

legs and wound around the waist. Modern cotton aba (aba ra

kain) are cut as shorts with lengths of cloth attached to front


20

and back, more or less like apron. Red cloth is common

because red is used to symbolize bravery. Cotton appliqué of

zig-zag motifs (rinda-rinda or rinipon kapit).

Tupi'sinulatan

Headband of tree-bark decorated with feathers, preferably of

the tuwou (Argus pheasant), or a pair of sinikot.

Some stylized motifs on Murut traditional costumes:

Name Details

Sinusu' Peacock neck feathers

Inimburu Leech-like motif

Sinuli Bamboo slats flooring

Kalayam manuk Chicken feet-like motif

Sinusulou Sulou-like motif (sulou = the giant sea clam

(Source: http://www.sabah.org.my/bi/know_sabah/murut_costume.asp)

3.4 The Rungus

Traditionally, the Rungus ethnic practiced animism, with female as their

shamans, and live in communal in longhouses. Nowadays, many have become

Christians. Like the rest of other Borneo ethnics, Rungus‟ living resides on rice,

besides emphasizing on coconut, and banana as their main source of cash income.

But now, most of them had improved their lifestyles, catching up with the

modernized world.

3.4.1 Rungus traditional dance

Mongigol Sumundai is a dance from the Kudat and Pitas districts,

performed by the Rungus. It is performed both as an entertainment during

festivities as well as a ritual dance. Three to eight female dancers are led

by a male dancer. The music accompaniment is produced by four gongs

and a drum called-tontog.

(Source: http://www.flickr.com/photos/agnieszka_wetton/3443710809/)

The women resplendent in their beaded wear and headwear moved

in slow short steps, behind the man who had his arms outstretched. The

traditional instruments playing in the background accompanies their

movement. (Source:

http://www.journeymalaysia.com/rungustraditions.htm)

http://www.sabah.org.my/bi/know_sabah/murut_costume.asp


21

3.4.2 Rungus traditional costumes

The traditional Rungus dress is black, often with hundreds or even

thousands of dollars worth of antique beads. Traditionally all Rungus

women wore heavy brass coils around their arms, legs and necks. Brass

arm coils are often accompanied by white and coral shell bracelets. Rings

of brass may also be worn around the waist. (Source:

http://en.wikipedia.org/wiki/Rungus)

Costume of Women:

Name Details

Banat Tight bodice fastened with a button to a rectangular

shouldercloth (longon banat) with a slit in the middle for the

head and loose ends hanging over the shoulders. The narrow

upper zone of the bodice (dokot) is decorated with

horizontal bands filled with floating weft and/or

embroidered motifs. These geometric motifs consist of

diamonds, triangles, hooks and zig-zags. The lower part of

the banat is embellished with vertical bands. Centre front is

usually a horizontal diabolo with a male and female figure in

each triangle and at the sides one or more black lizards on a

white field.

Tapi' Tube-skirt falling below the knees. [Priestesses wear a tapi'

with heavy brass bells at the hem to accompany the chants.]

The floating weft motifs in the horizontal bands comprise an

astonishing range of subjects. There is a fern motif,

vegetable seeds, a drunken woman and a pattern derived

from the body of the black bird. Worn during festival or

ceremonies.

Sukolob Calf-length blue or black commercial cotton wrap tied over

the chest. One long strip of linangkit/rinangkit along the

vertical seam is intersected by a horizontal one in the middle

of the suLolob. On the intersection four floral motifs in

needle embroidery radiate from the centre. The pattern of

the linangkit/rinangkit strips consists of separate motifs. On

the intersection the horizontal band almost always shows the

motifs of a rice field snake. Worn as daily attire.

Notes: Usually the motifs of the tapi' and the sukolob

indicate the social position of the wearer: sinombitan for the

upper class and tinongkupan for the others.

Accessories:

http://en.wikipedia.org/wiki/Beads

http://en.wikipedia.org/wiki/Brass

http://en.wikipedia.org/wiki/Coral

http://en.wikipedia.org/wiki/Rungus


22

Name Details

Sisingal Several strings of beads tied together, worn around the

head.

Titimbok Hairpin of wood or rattan, cloth and beads.

Sisik Brass decorative haircomb.

Sad'ang Brass earrings.

Ganggalung Disc of brass coil of approximately 40 cm in diameter

worn as a necklace. These cumbersome ornaments are

hardly worn anymore. Only in isolated villages will older

women still put them on for ceremonial occasions.

Litai or tinggot Narrow choker-like necklace of beadwork.

Sulau Necklace of old beads and a disc of white shell, kima

(Tridachna gigas—giant clam) in front and back. Bells are

attached on either side of the disc in front.

Togkol String of carnelian, glass and shell beads looped crossed

over the shoulders.

Pinakol Two bands of beadwork with geometric and human figures

looped crossed over the shoulders.

Orot Wide hip girdle/belt of coiled brass wire and rows of

beads. Worn during weddings and other ceremonies.

Giring Small round brass bells sewn at the hem of the tapi‟.

Lungkaki' Tightly coiled brass ornament covering the lower leg. Just

like the ganggalung these heavy leggings have gone out of

fashion.

Rampai A hairpin which has two or three rows of folded pieces of

colourful cloth strung together and which float down to the

nape.

Satu’ Bracelet of coconut shell worn below the elbow.

Batakan or kimo’ Bracelet of shell (kima).

Saring Brass coiled wire bracelet covering most of the underarm.

The saring is enclosed by the satu and batakan and

angkop.

Kinumai or

golinsung

Bracelet of shell (kima).

Angko Bracelet of coconut shell-like satu' around the wrist.

Costume of Men:

Name Details

Badu’ Long-sleeved handwoven shirt with geometric motifs.

Soval sarabulu’ Baggy trousers with wide waistline and rinangkit decorated

seams. Plain trousers, without rinangkit are called masap or

souval tanaru'.

Hokos Waistband of long strips of red, green and yellow cotton,

sewn together.

Sandai Two folded lengths of printed commercial fabric falling

down from each shoulder to the calves.


23

Inavol Narrow handwoven circular sashes with geometr motifs

worn crosswise over the chest.

Sigal Headdress of folded pis cloth produced by Binadan

craftswomen.

Mogah Sarong made from mogah cloth woven by Iranun weavers.

Worn during the mogigol dance.

Pinakol Two bands of beadwork with geometric and human figures

looped crossed over the shoulders.

Tinggot Narrow choker-like necklace of beadwork

Pinikos Upper arm bracelet made of hardwood.

(Source: http://www.sabah.org.my/bi/know_sabah/rungus_costume.asp)


24

4.0 About Sabah Cultural Board

Sabah Cultural Board is a government owned organization

that was establish in year 1996, and are dedicated to promote,

preserve, and develop traditions and cultures in Sabah. Its

management were divided into several divisions, which is;

Cultural Events and Performances Division, Cultural Research and Library Division,

Cultural Training and Development Division, and Cultural Centers and District Branches.

The function of Cultural Events & Performances Division is to promote the cultures

and traditions of Sabah in the international and local level, besides instilling positive

values to the younger generations, with culture as an intermediary. Whereas, Cultural

Research Division function is to promote and conduct cultural researchers, besides

facilitating other corporate services like communication. The Cultural Training &

Development Division on the other hand, assists in culture-related entrepreneurship.

4.1 Activities of Sabah Cultural Board

In accordance with government‟s effort for cultural development, there are

variety of activities that were conducted by this Board, including organizing

cultural events like Sabah International Folklore Festival (SIFF), Culture

Exchange Programs, Culture carnivals (at the administrative district level in

Sabah), and Cultural Fiesta of the multi ethnic people of Sabah, for example Pesta

Kalimaran which refers to the craftsmanship of the Muruts.

Sabah Cultural Board (SCB) also runs its cultural performances as a business

by performing at hotels, occasions or to organizations, to support its programs and

activities with nominal charges.

4.1.1 About Sabah International Folklore Festival (SIFF)

Based from the Sabah Cultural Board‟s brochures, SIFF provides

the opportunity for the culture enthusiasts to enjoy and witness the beauty,

uniqueness and authenticity of cultural performances of various ethnics of


25

the world. SIFF is truly meant to be an East-West Cultural rendezvous in

promoting peace through culture.

The main objective of the SIFF is to promote culture tourism

among participating countries and to introduce the state‟s unique cultures

onto the international tourism. SIFF provides the opportunity to witness

and enjoy the unique and authentic cultural performances from various

countries. A long list of cultural displays, were drawn up to be staged at

different venues in the state capital.

SIFF Date Details

First May 29th

-

June 2nd

2001

Organised in conjunction with the Colours of Malaysia Month and

Kaamatan Festival, a harvest festival fiesta by the largest ethnic

group in Sabah namely the Kadazandusuns. Eleven countries

participated to showcase their respective country’s popular folklore

dances, which includes Malaysia, Poland, Taiwan, Austria, Croatia,

Canada, Mali, Argentina, Brunei, China and Turkey. The friendly best

performance competition was won by Poland, Turkey and Vietnam

for the first, second and third places respectively.

Second 4th

-11th

Sept

2004

Participated by ten (10) countries namely Malaysia, Philippines,

Italy, Poland, Belgium, India, Taiwan, South Korea, Indonesia and

South Africa. All the ensembles presented their folkdances to the

audience in a spectacular performance. Again, Poland was the

winner of the friendly best performance competition, followed by

Philippines and India for the second and third places respectively.

Third 2nd

-8th

Sept

2007

Participation was from twelve (12) countries namely Brunei, China,

India, Japan, Kazakhstan, Latvia, Poland, Russia, Saudi Arabia,

Singapore, Thailand and Malaysia. They performed their best unique

and authentic traditional dances. Russia took the top prize in their

debut in the folkdance performance competition while the regaining

champion Poland came second and Kazakhstan came third.

Fourth 1st-9

th July

2009

Eleven ensembles from ten countries have confirmed their

participation. Fourth SIFF is set to be different from all of the

previous SIFFs. Other than the performance of the various

international participants, also present the folkdances of the various

ethnics of Sabah during the festival

(Source: http://www.sabah.gov.my/lks/page.asp?v=siffmain)

These performances true intent is actually to build understanding

between all participating countries. According to the statement of Datuk


26

Masidi Manjun, the Sabah State Culture, Tourism and Environment

Minister, “The true and overriding intent of the Sabah International

Folklore Festival is building friendship and bringing nations closer

together.” (Source:

http://www.dailyexpress.com.my/news.cfm?NewsID=66088). Hence, these

efforts can be seen as catalyst towards another long term relationship that

can benefit everyone.

4.1.2 Fourth SIFF-Local Folkdance Competition

Upon this research, specifying to Sabah‟s local traditions, ethnics,

and cultures; a special focused is been given to Local Folkdance

Competition Part I and Part II, of the 4th

Sabah International Folklore

Festival. This festival was organized by Sabah Cultural Board and was

performed by more than 40 schools of primary and secondary, from all

over Sabah. Contestant from other countries also takes part in the

International Folkdances Competition. Ten countries include Malaysia,

has join in this competition.

Traditional dance performance is one of the ways to introduced

one‟s culture to others, besides by promoting through media and tours.

Some traditional dances may show the daily routine life gone through by

their people, their stories and rituals. The competition showcased all the

main folkdances of Sabah. For example, Mogunatip dance, of the Murut

ethnic, Sukang dance of the Sungai ethnic, Daling-Daling dance of the

Bajau ethnic, Sumazau dance of the Kadazan/Dusun ethnic and more.

Also, through this competition, spectators of international and local that

present, can identified others country‟s unique traditional dances. The

students especially, became more aware of other ethnic dances that present

in Sabah, especially when they are presenting their ethnic dances.


27

Sabah is full with wonders of nature and cultures and there is lot

more need to be explored for its tourism potential. Culture is another sure

possibility that we can used to promote tourism in Sabah and at the same

time making all the ethnics in Sabah thinks that it is worth protecting their

heritage of traditions and cultures of their ancestors. Steps taken and done

by Sabah Cultural Board including organizing events like SIFF are one of

their noteworthy efforts. Through SIFF event, Sabah Cultural Board can

introduce the cultures of Sabah to its audiences, especially the participants

from other countries, for example from Kazakhstan, Arab, Indonesia,

Thailand, and China countries, and vice versa.

SIFF event is one of the huge and collaborative steps taken by the

Sabah Cultural Board in achieving its mission to promote, preserve and

develop traditions and cultures in Sabah. In the process of managing this

event, there are many works that is involved. For example, in terms of

promotion, the board needs to published advertisement, flyers, banners,

radio transmissions, participants‟ registration and more. Overall, SIFF is

considered as the largest campaign and supported by the government to

enhance the cultures of Sabah.

4.1.2.1 Program Tugu Budaya

The „Program Tugu Budaya‟ in this SIFF event also is one

of the integrated efforts of government towards achieving SIFF

campaign, for students will be involved in this matter. According

to Mr. Joisin Romut, manager of Research, Communication and

Corporate Services Division of Sabah Cultural Board, the

contestant that joined in the 4th

SIFF competition mainly consist of

students. The reason for this is because they are still young, so they

are the perfect people to be nurtured with good cultural values,

hence, contributing towards making a culturally educated nation.

As the malay sayings goes “jika nak melentur buluh, biarlah dari


28

rebungnya”, which means if you want to educate a person to be a

good person, better start when they are still young.

4.1.2.2 Culture for Peace

“Sabah is also a venue for culture exchange” phrase, picked

from the Sabah Cultural Board, SIFF website depicts the values

from variety cultures by all participating countries that can be seen

and shared in conjunction with the SIFF event. Here, trusts and

understanding can be formed, because dances in SIFF event are

shared and hence can create a good atmosphere that leads to trusts

and friendships.

This is in line with the SIFF slogan of „Culture for Peace‟.

Where all misunderstandings can be solved by reaching one

understanding that is well understood by all, “No one is better than

others, as winning or losing is irrelevant, we are here to celebrate

the uniqueness of our own culture,” says State Culture, Tourism

and Environment Minister, Datuk Masidi Manjun.

Hopes of Sabah Cultural Board (SCB) in the end of the 4th

SIFF event is that so all of its objectives are succeed and crowds

gave their full support for SCB promotion labeled as „Culture for

Peace‟, and so that the young will be more interested in culture, for

culture, is the benchmark for civilization.

In organizing SIFF, Sabah Cultural Board partnered with Daily Express as

the official media, and government organization like Sabah State Education

Department to prepare a comprehensive programmes of activities for community

awareness creation on Sabah‟s heritage and turn them into public community

participatory events that will also be attractive to tourists and bring revenue

earning opportunities to the community at large.


29

5.0 About other organizations that strives on cultural development

There are also many other organizations that focused on the cultural development

of Sabah. Sabah Museum and KDCA are among many of them besides by the Sabah

Cultural Board. Below are the brief descriptions of these organizations.

5.1 Sabah Museum

To collect, preserve, conserve, document, exhibit and

intepret material evidence and associated information on

history, culture and the natural heritage of Sabah by

through exhibition and display for the people today and

future generations. (Source:

http://kepkas.sabah.gov.my/index.php?option=com_content&view=article&id=4

4&Itemid=60)

5.2 Kadazandusun Cultural Association Sabah

KDCA‟s humble beginning started with the birth of

the Society of Kadazan Penampang in 1953. This society

paved the way for the formation of the Kadazan Cultural

Association Sabah (KCA) in 1963, which in turn

transformed into the present KDCA on September 25, 1991.

Ever since its inception in the early 50‟s, the KDCA has focused much of

its efforts in the preservation, development, enrichment and promotion of the

Kadazandusun multi-ethnic cultures. Without KDCA, much more of the currently

existing Kadazandusun cultural heritage would have sunk to oblivion by now,

buried lost forever or displaced by the ever dominating modern cultures. The

KDCA‟s Triennial Delegates Conference provides for the much needed forum

where the various Kadazandusun multi-ethnic representatives discuss major issues

affecting them and their future and take up both individual and collective stand

and actions to resolve common challenges. (Source: http://kdca.org.my/about)

http://www.mzm.sabah.gov.my/


30

6.0 Conclusion

It is a very big challenge to retain the identity of all the ethnics of Sabah overall.

While the efforts of Sabah Cultural Board are commendable, there is still a need for the

wide population of Sabah, to get involved in these efforts in the long term. This can only

be achieved through a concerted effort to involve the community in the mainstream

cultural and heritage activities, and not only as observers or audience, but also as active

participants.

We should appreciate the existence of our traditional ethnics in the country. This

is a proof that there are remains for our people and visitors to wonder about a place‟s

history, its culture, and the reasons that lies behind the differences that should be

retained. More than any formal papers, books of history or verification papers, it is

actually the soul of the people that believe is the most important. For, they are entitled to

keep their traditions and cultures, and it is from their hearts is where the action to

preserve can last forever.


31

References

http://www.sabah.gov.my/lks/page.asp?v=siffmain. Retrieved July 1, 2009

http://en.wikipedia.org/wiki/Sabah. Retrieved July 1, 2009

http://www.scn.org/cmp/modules/per-culm.htm. Retrieved July 6, 2009

http://www.dailyexpress.com.my/news.cfm?NewsID=66088. Retrieved July 7, 2009

http://ms.wikipedia.org/wiki/Kadazan-Dusun. Retrieved July 8, 2009

http://www.sabahtourism.com/sabah-malaysian-borneo/en/culture/2-the-people-of-

sabah/. Retrieved

July 8, 2009

http://www.sabah.org.my/bi/know_sabah/traditional_costumes.asp. Retrieved July 8,

2009

http://www.sabah.org.my/bi/know_sabah/culture_costume.asp. Retrieved July 8, 2009

http://www.sabah.org.my/bi/know_sabah/culture_costume.asp. Retrieved July 8, 2009

http://www.sabah.org.my/bi/know_sabah/lotud_costume.asp. Retrieved July 8, 2009

http://www.sabah.org.my/bi/know_sabah/murut_costume.asp. Retrieved July 8, 2009

http://www.sabah.org.my/bi/know_sabah/traditional_dance.asp. Retrieved July 8, 2009

http://www.sabah.org.my/bi/know_sabah/music/music_kulintangan.htm. Retrieved July

8, 2009

http://www.sabah.org.my/bi/know_sabah/culture_handicraft.asp. Retrieved July 8, 2009

http://www.sabah.org.my/bm/kenali_sabah/handicraft/handicraft.htm. Retrieved July 8,

2009

http://www.sabah.edu.my/itma07037/8.Culture/Culture.htm. Retrieved July 9, 2009

http://www.sabahtourism.com/sabah-malaysian-borneo/en/culture/6-the-kadazandusun/.

Retrieved July 10, 2009

http://www.sabah.org.my/bi/know_sabah/culture_dances.asp. Retrieved July 10, 2009

http://www.flickr.com/photos/agnieszka_wetton/3443710809/. Retrieved July 11, 2009


32

http://www.journeymalaysia.com/rungustraditions.htm. Retrieved July 11, 2009



http://kdca.org.my/about. Retrieved July 16, 2009

http://kepkas.sabah.gov.my/index.php?option=com_content&view=article&id=44&Itemi

d=60. Retrieved July 16, 2009


33

Appendix

4TH SABAH INTERNATIONAL FOLKLORE FESTIVAL 2009 (2 - 8 JULY 2009)

One of the Board’s efforts to promote, preserve and develop traditions and cultures of Sabah is by organising Sabah International Folklore Festival (SIFF). 2009 SIFF will be the fourth. The first SIFF was in year 2001 from May 29 to June 2. It was organised in conjunction with the Colours of Malaysia Month and Kaamatan Festival, a harvest festival fiesta by the largest ethnic group in Sabah namely the Kadazandusuns. Eleven countries participated to showcase their respective country’s popular folklore dances, which includes Malaysia, Poland, Taiwan, Austria, Croatia, Canada, Mali, Argentina, Brunei, China and Turkey. The friendly best performance competition was won by Poland, Turkey and Vietnam for the first, second and third places respectively.

The second SIFF was organised from 4th to 11th September 2004, and participated by ten (10) countries namely Malaysia, Philippines, Italy, Poland, Belgium, India, Taiwan, South Korea, Indonesia

and South Africa. All the ensembles presented their folkdances to the audience in a spectacular performance. Again, Poland was the winner of the friendly best performance competition, followed by Philippines and India for the second and third places respectively.

The third SIFF was in the year 2007 from 2nd to 8th September. Participation was from twelve (12) countries namely Brunei, China, India, Japan, Kazakhstan, Latvia, Poland, Russia, Saudi Arabia, Singapore, Thailand and Malaysia. They performed their best unique and authentic traditional dances. Russia took the top prize in their debut in the folkdance performance competition while the regaining champion Poland came second and Kazakhstan came third.

Fourth SIFF will be taking place from 1st to 9th July 2009 in Kota Kinabalu, Sabah (arrival on the 1st & 2nd and departure back on the 9th). Eleven ensembles from ten countries have confirmed their participation. Fourth SIFF is set to be different from all of the previous SIFFs. Other than the performance of the various international participants, we will also present the folkdances of the various ethnics of Sabah during the festival – something that we cannot afford to miss! Fourth SIFF is not only a folkdance festival but it is also a venue for cultural exchange.

OBJECTIVE OF SABAH INTERNATIONAL FOLKLORE FESTIVAL

SIFF provides the opportunities for the culture enthusiasts to enjoy and witness the beauty, uniqueness and authenticity of cultural performances of various ethnics of the world. SIFF is truly meant to be an East-West Cultural rendezvous in promoting peace through culture.

The main objective of the Sabah International Folklore Festival is to promote culture tourism among participating countries and to introduce the state’s unique cultures onto the international tourism. SIFF provides the opportunity to witness and enjoy the unique and authentic cultural performances from various countries. Long lists of cultural display were drawn up to be staged at different venues in the state capital.

The main objectives of the event are as follows:- - To promote understanding and goodwill - To celebrate mankind brotherhood through cultures - To promote culture tourism among participating countries, and - To promote Sabah as an attractive tourists destinations in Asia; Malaysia Truly Asia

HOW TO PARTICIPATE IN THE SABAH INTERNATIONAL FOLKLORE FESTIVAL?

We are inviting folkdance ensembles around the globe to participate in this festival. Starting from this year, the organiser is making this festival as an annual event. The elements of this festival are international folkdances, local folkdances, and touristic excursion for the participants (ex. National Parks visit i.e. Mount Kinabalu, Tunku Abdul Rahman Park etc.) The details and updates including terms and conditions of participation, on-line registration, and on-line tickets purchasing (to watch and enjoy world class folkdances performers) are at http://www.sabahculture.com.

If you are a culture enthusiast, then this folklore festival is not something for you to miss. So, please book your tickets earlier to ensure seats availability.

For further details and information, kindly contact the organiser’s Chief Liaison Officer, Mr. Joisin Romut at Tel: +6088259457(O) or +60198218718 (H/P) or Email: [email protected]

Source: http://www.sabah.gov.my/lks/page.asp?v=siffmain

mailto:%[email protected]

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Sabah Traditions and Culture