Linagoh Group
Linagoh group of woven baskets and trays are the Rungus' specialities. Made from a wild creeper known locally as 'siling kawang', these products come in different shapes, designs and sizes and suit a variety of household uses.
Most often the dried creepers are not treated with dyes so as to maintain the natural fine glossy finish.
Nyiru Group
Made from thin strips of Bemban stem, Nyiru, as the accompanying photographs show, are essentially shallow oblong or egg-shaped or round trays used as winnows for pady and other farm and household applications.
Rungus, a native indigenous group inhabiting the northern part of Sabah, are wellknown for their fine skills in producing these trays.
The patterns shown here are of Rungus origin. Several other indigenous groups in Sabah produce Nyiru of different patterns.
In modern homes, these items are used both as utility trays and decorative items.
Bamboo & Rattan Group
Until recent years, bamboo and rattan were there for the taking, in abundance in the bushes and jungles of Sabah.
Before the advent of commercialism, the survival instincts of the indigenous people drove them into turning the readily available raw materials into a host of practical useful items for their huts, for work in the fields, fishing or hunting.
Today, these craftsmen are turning out an even wider range of bamboo or rattan and bamboo-rattan products such as the rattan ball for sepak takraw (a national sport), the lampit (floor mat), flower vases, fruit baskets, etc. The authenticity of these traditional craftsmen have not been com promised: they are still turning our genuinely handcrafted handicrafts.
Pandan / Mengkuang Group
Weaving is about the most common past-time of Sabah's rural womenfolk. Handicrafts classified under this group show the natives honed instincts of utilising available raw materials surrounding them.
Pandan or Screw-pine, is widely cultivated. Mengkuang is also a kind of screw-pine. Pandan has fine and short leaves, while Mengkuang leaves are long and broad. Their uses are similar.
With the help of home-made dyes and after painstaking, crude process of turning the green pandan leaves into flexible straws, they are woven into such item as hats, mats, handbags, baskets, food covers, etc.
Pandan is so flexible and easily workable that it allows an extremely wide range of household and decorative items to be produced with the deft fingers and the in-born memory patterns of Sabah natives.
Kain Group
"Kain" is Malay for cloth. The most famous of Sabah's handwoven 'kain' are as follows:
Kain Daster and Kain Mugah are woven mainly by Illanun Gajaus. These intricately woven multi-colour materials are used as headgears and house decorations on festive occasions. They make strikingly attractive wall or table decorations in many modern homes.
Musical Group
Though cultural habits of the indigenous people differ, they share one common indulgence - music. Each group invariably has its own sets of musical instruments, the construction of which are based mainly on the local availability of materials such as bamboo, buffalo or other game hides, wood, etc.
"Sompoton", Sabah's version of the bagpipes, is immensely popular. Bungkau (jaw's harp made from the bark of a nibong palm called bongkala) and gambus (a native guitar) are also collectors' items.
Parang Group
The Oxford Dictionary defines 'parang' as a heavy Malay sheath-knife.
Before the advent of modern farm and kitchen tools, a parang in Sabah's rural household serves multiple uses.
Most of the natives in Sabah have their very own crude ways of making parangs out of scrap iron. But parangs produced by the Bajaus are the most sought-after for their fine craftsmanship.
In recent years, these fast diminishing blacksmiths are putting their ingenuity into producing kris, letter openers and other form of handy tools.
Manik Group
Manik products include such ornamental items as rings, necklaces, bracelets and bangles produced by stringing together colourful brads.
Depending on the cultural background of the indigenous people who make them, Manik products differ in stringing pattern and uses. Some use them on the ankles or the head, others wrap them round their necks, waist, wrists or upper arm.
The colourful Manik products are ideal for use as miniature decorative items.
Demand for the Manik products has increased dramatically. Making Manik is now a lucrative cottage industry in Sabah's rural aras
Wednesday, July 29, 2009
THE OLD MAN AND THE RIBONG TREES ( A Murut Folk Tale )
It was the tradition of the Murut tribe to select a chief from amongst them. There was an old man with a 'Titimbak' (Murut traditional head gear), who claimed that he was the chief of all chiefs. The folk accepted him as their righfful 'Orang Tua' (Chief) and followed his advise and instructions. This was probably because he was very practical, wise and kind-hearted.
One day he instructed all the villagers to cultivate as many 'Tabasan' (rice fields) as po$ible, which meant that they had to clear a lot of jungle and bushes for planting.
They obediently did what the old man instructed. Before the clearing began, the old man told them to spare the Nibong and Menggaris trees. After the massive and tiring job of clearing the sites. the villagers began to plant.
It did not take long and they were able to harvest quantities of rice like never before. There was enough to feed everyone for a very long time. However the storage space was not enough to accommodate the huge quantity of the rice harvest and the villagers began to worry. The old man calmed them down and promised to take care of the grain's storage. He used his magic power and stored all the harvest inside the Nibong and Menggaris trees.
The villagers were very happy and praised their chief for his good idea. However, the old man had to stand guard by the trees all the time in order to ensure a fair distribution of rice among the villagers.
As time went by, most of the villagers became greedy and hinted that the old man was misusing his power. They decided to protest and find a better solution for a fair distribution.
After a big argument and protest by the villagers, the old man said: "If you want to see all the grain, it can never be restored again as it is against the magic power". However, at this stage inquisitiveness was stronger than any other reason and the villagers demanded that the old man produces the rice stored in the trees.
In a fit of anger the old man threw his spear into the Menggaris and Nibong trees and all the golden grain came pouring out of the trees, until the ground was paved with rice. By now, the villagers started to realise that they were wrong about their chief. Howevec it was too late. They had misjudged the Orang Tua. The magic power of the old man worked only once. The old man felt very offended having his leadership doubted and laid o curse upon all of them.
He said: "Your generation shall meet a similar fate to that of the banana trees. When the old tree dies it will leave the young to fend for itself." So it was to be with the villagers. The young had to fend for themselves ffom this date onwards.
Since they were cursed, the villagers begged the old man to impose a lesser punishment upon them. They preferred to be like the moon. When the full moon disappears the young moon will immediately appear again. The old man agreed but he caused the tribe to inherit both punishments. Unlike before with an unending supply of rice from the old man, they had to work very hard for a living even till this day.
One day he instructed all the villagers to cultivate as many 'Tabasan' (rice fields) as po$ible, which meant that they had to clear a lot of jungle and bushes for planting.
They obediently did what the old man instructed. Before the clearing began, the old man told them to spare the Nibong and Menggaris trees. After the massive and tiring job of clearing the sites. the villagers began to plant.
It did not take long and they were able to harvest quantities of rice like never before. There was enough to feed everyone for a very long time. However the storage space was not enough to accommodate the huge quantity of the rice harvest and the villagers began to worry. The old man calmed them down and promised to take care of the grain's storage. He used his magic power and stored all the harvest inside the Nibong and Menggaris trees.
The villagers were very happy and praised their chief for his good idea. However, the old man had to stand guard by the trees all the time in order to ensure a fair distribution of rice among the villagers.
As time went by, most of the villagers became greedy and hinted that the old man was misusing his power. They decided to protest and find a better solution for a fair distribution.
After a big argument and protest by the villagers, the old man said: "If you want to see all the grain, it can never be restored again as it is against the magic power". However, at this stage inquisitiveness was stronger than any other reason and the villagers demanded that the old man produces the rice stored in the trees.
In a fit of anger the old man threw his spear into the Menggaris and Nibong trees and all the golden grain came pouring out of the trees, until the ground was paved with rice. By now, the villagers started to realise that they were wrong about their chief. Howevec it was too late. They had misjudged the Orang Tua. The magic power of the old man worked only once. The old man felt very offended having his leadership doubted and laid o curse upon all of them.
He said: "Your generation shall meet a similar fate to that of the banana trees. When the old tree dies it will leave the young to fend for itself." So it was to be with the villagers. The young had to fend for themselves ffom this date onwards.
Since they were cursed, the villagers begged the old man to impose a lesser punishment upon them. They preferred to be like the moon. When the full moon disappears the young moon will immediately appear again. The old man agreed but he caused the tribe to inherit both punishments. Unlike before with an unending supply of rice from the old man, they had to work very hard for a living even till this day.
BULAN GARHANA - ECLIPSE OF THE MOON ( A Kadazan Folk Tale )
Tareb, the son of the god Kineringan wanted to marry another god's daughter. However, he was restricted because he could not deliver the 'Barian' (dowry) to heaven. The dowry had to be obtained from the earth.
He was very upset and disappointed. He thought of a plan which involved swallowing the moon. Once he had done that, there was darkness on earth and the people began to worry and became afraid. They thought that they had offended the gods and decided to hold a feast.
They prepared all kinds of food, gathered their gongs, drums, jars of wine, items of jewellery and beads, dressed in traditional costumes and began to celebrate. They danced and sang, beat the gongs and slaughtered animals as a sacrifice to please the heavenly deity.
Tareb, on seeing such delighfful sights, began to savour the spirit of their celebration and, having forgotten all about the moon in his mouth, he accidentally opened his mouth and released the moonlight again.
Tareb, by this time, was so engrossed with delight at the sight of the barian, consisting of the gongs, musical instruments and jewellery, that he could not care less what happened to the moon. He had got what he wanted and was able to marry his loved one.
The people on earth were even happier at the sight of the moonlight.
The story goes even today, that whenever there is an eclipse, the folk still adhere to the traditional ways of bringing back the moon by celebrating to appease the spirits, same as they had done in the past.
He was very upset and disappointed. He thought of a plan which involved swallowing the moon. Once he had done that, there was darkness on earth and the people began to worry and became afraid. They thought that they had offended the gods and decided to hold a feast.
They prepared all kinds of food, gathered their gongs, drums, jars of wine, items of jewellery and beads, dressed in traditional costumes and began to celebrate. They danced and sang, beat the gongs and slaughtered animals as a sacrifice to please the heavenly deity.
Tareb, on seeing such delighfful sights, began to savour the spirit of their celebration and, having forgotten all about the moon in his mouth, he accidentally opened his mouth and released the moonlight again.
Tareb, by this time, was so engrossed with delight at the sight of the barian, consisting of the gongs, musical instruments and jewellery, that he could not care less what happened to the moon. He had got what he wanted and was able to marry his loved one.
The people on earth were even happier at the sight of the moonlight.
The story goes even today, that whenever there is an eclipse, the folk still adhere to the traditional ways of bringing back the moon by celebrating to appease the spirits, same as they had done in the past.
THE CROCODILE POOL ( A Rungus Folk Tale )
There wos once a very beautiful long house near Ulu Pong. The folk there were happy people who enjoyed a prosperous life. Many kinds of entertainment and celebrations were held. Beside the usual activities of gong beating. dancing and wine sipping, they also included domestic animals in the fun. They took great pleasure in teasing and abusing the animals.
However by traditional custom, they were supposed to respect domestic animals like dogs, cats, pigs, and goats, as contrary actions were believed to offend the gods.
One day, while they were carrying on as usual with their merry making, a great storm, which lasted several days swept over the village, causing heavy damage to nature. They did not care about what was happening outside as they were too drunk and happy to bother. Besides, they felt very secure inside their huge long house.
It did not take long for the water to rise and flood the entire land, including the long house. Since they had offended the gods, there was no way of escaping without punishment. When the flood eventually subsided, no long house could be seen anymore, but instead a huge pool filled with crocodiles.
Up till this date, the village folk believe that the gods caused the storm to serve as a punishment to those who do not observe their customs and have no respect for animals. Sometimes the villagers trap those crocodiles in the pool for food, which they also sell on the local market.
The site is known as "The Crocodile Pool" of Kota Marudu as well as Kulum Buyut. The folk there believe that they must never harm or abuse animals again.
However by traditional custom, they were supposed to respect domestic animals like dogs, cats, pigs, and goats, as contrary actions were believed to offend the gods.
One day, while they were carrying on as usual with their merry making, a great storm, which lasted several days swept over the village, causing heavy damage to nature. They did not care about what was happening outside as they were too drunk and happy to bother. Besides, they felt very secure inside their huge long house.
It did not take long for the water to rise and flood the entire land, including the long house. Since they had offended the gods, there was no way of escaping without punishment. When the flood eventually subsided, no long house could be seen anymore, but instead a huge pool filled with crocodiles.
Up till this date, the village folk believe that the gods caused the storm to serve as a punishment to those who do not observe their customs and have no respect for animals. Sometimes the villagers trap those crocodiles in the pool for food, which they also sell on the local market.
The site is known as "The Crocodile Pool" of Kota Marudu as well as Kulum Buyut. The folk there believe that they must never harm or abuse animals again.
THE STORY OF THE SUN
In the beginning of the world there were two moons in the heaven. One of them WQS a male moon and the other was a female moon. The two of them always arose in the east.
On earth there lived a man named Sigunting, a hero among the folk at that time. One day he had a dream. He dreamt that an old man was very cold and complained that there was no heat to warm the world.
"What must we do to obtain heat to warm this world?" Sigunting asked. The old man replied, "Young hero, take your magic bow and arrow, climb to the top of Mount Kinabalu and shoot an arrow eastward".
Upon awakening from the dream, Sigunting climbed the mountain as asked by the old man. He shot an arrow with his magic bow. The arrow struck the male moon and blinded him. As a result, the earth was even darker than before, as there was only one moon left. The owls began to cry because the male moon did not appear as usual. However, Sigunting and the folk began to celebrate their success with a big feast. As usual, according to tradition, they beat the gongs, slaughtered cattle and drank wine tapai and had a good time. However, they realized that they felt even colder than before.
After some time, when the situation seemed quite hopeless, the male moon suddenly appeared.
To their surprise there was an arrow stuck in the eye of the moon. In a mournful mood, the moon told them that he was very ashamed to meet his wife, the female moon, and he promised that if anyone could help him to remove the arrow he would help to generate heat for them. The folk sat down in a meeting to discuss on how they could help as the moon was so far away.
In olden days, some animals and birds could communicate with human beings. A huge bird came along in the midst of their meeting. "Whoever is brave enough to sit on my back will be flown by me up to the moon to remove the arrow". Sigunting agreed to follow the bird on this mission. They flew off at the first light of dawn. When they reached the moon, the moon begon to cry and related to them his sorrow. He was ashamed to meet his wife because he was blinded by the arrow. Howevec he was delighted that they had eventually come to remove the arrow. On completion of their task the male moon instructed them to fly back immediately as he had promised to generate heat in return for removing the arrow. Sigunting was told to show the arrow to the villagers and wait for the heat the moon had promised.
When they returned to the village, the people were still seen praying to the stones and trees hoping for a miracle.
They were happy indeed on seeing Sigunting safely returned with the arrow in his hand. By now they were feeling the heat. Only this village knew the secret. Other villages, not knowing the secret, enjoyed the heat as well and began to celebrate.
There was much relief everywhere when the heat touched them. They celebrated as usual, beating gongs, feasting and dancing. But the funniest of all were the dancing animals such as the dogs, cats, goats, pigs, monkeys and cows.
This funny sight caused the hot moon to laugh and drips of red hot saliva flowed from his mouth. The saliva was believed to have accidentally caused many of the folk to turn into stone boulders, some in small, others in huge groups. The unlucky individuals who had turned into stones were mainly the farmers as well as some of their animals. These stones can still be seen scattered along the foothills of Mount Kinabalu.
On earth there lived a man named Sigunting, a hero among the folk at that time. One day he had a dream. He dreamt that an old man was very cold and complained that there was no heat to warm the world.
"What must we do to obtain heat to warm this world?" Sigunting asked. The old man replied, "Young hero, take your magic bow and arrow, climb to the top of Mount Kinabalu and shoot an arrow eastward".
Upon awakening from the dream, Sigunting climbed the mountain as asked by the old man. He shot an arrow with his magic bow. The arrow struck the male moon and blinded him. As a result, the earth was even darker than before, as there was only one moon left. The owls began to cry because the male moon did not appear as usual. However, Sigunting and the folk began to celebrate their success with a big feast. As usual, according to tradition, they beat the gongs, slaughtered cattle and drank wine tapai and had a good time. However, they realized that they felt even colder than before.
After some time, when the situation seemed quite hopeless, the male moon suddenly appeared.
To their surprise there was an arrow stuck in the eye of the moon. In a mournful mood, the moon told them that he was very ashamed to meet his wife, the female moon, and he promised that if anyone could help him to remove the arrow he would help to generate heat for them. The folk sat down in a meeting to discuss on how they could help as the moon was so far away.
In olden days, some animals and birds could communicate with human beings. A huge bird came along in the midst of their meeting. "Whoever is brave enough to sit on my back will be flown by me up to the moon to remove the arrow". Sigunting agreed to follow the bird on this mission. They flew off at the first light of dawn. When they reached the moon, the moon begon to cry and related to them his sorrow. He was ashamed to meet his wife because he was blinded by the arrow. Howevec he was delighted that they had eventually come to remove the arrow. On completion of their task the male moon instructed them to fly back immediately as he had promised to generate heat in return for removing the arrow. Sigunting was told to show the arrow to the villagers and wait for the heat the moon had promised.
When they returned to the village, the people were still seen praying to the stones and trees hoping for a miracle.
They were happy indeed on seeing Sigunting safely returned with the arrow in his hand. By now they were feeling the heat. Only this village knew the secret. Other villages, not knowing the secret, enjoyed the heat as well and began to celebrate.
There was much relief everywhere when the heat touched them. They celebrated as usual, beating gongs, feasting and dancing. But the funniest of all were the dancing animals such as the dogs, cats, goats, pigs, monkeys and cows.
This funny sight caused the hot moon to laugh and drips of red hot saliva flowed from his mouth. The saliva was believed to have accidentally caused many of the folk to turn into stone boulders, some in small, others in huge groups. The unlucky individuals who had turned into stones were mainly the farmers as well as some of their animals. These stones can still be seen scattered along the foothills of Mount Kinabalu.
A TALE FROM THE PADAS RIVER (Tenom) ( A Murut Folk Tale )
There was once o lonq house in Kampung Tatamuan beside the river Malalap. It was the tradition of the Murut people, that men had to hunt animals for food as a contribution to society.
There was a young hunter among them who went on a hunting trip with other villagers. He had to leave his family and his pregnant wife behind at the long house.
In those days, a hunting trip usually took many weeks, as they had to poach and wait, or very often penetrate far into the jungle.
During their absence, the village folk discovered a python on the bank of the river. They immediately killed it for food. The remains of the skin were used to make big and small drums.
It had been quite a while since the hunting group had left the village and there was still no sign of their return.
Out of boredom, the villagers decided to hold a feast. Feasting was very common amongst them and it was part of their tradition as well. They began to celebrate with meat from this huge python. They had plenty of food to eat and to share.
Usually light entertainment, such as dancing and singing were performed during such a celebration. This was accompanied by playing the drums which were made from the skin of the snake. However, the moment they hit the drums, the cats and dogs began to fight with each other. Even though they tried, but somehow, the villagers could not stop half way during the celebration. They decided to change to the other drums also made from the snake skin.
This time, the sound of the drums caused an evil sort of spell and the villagers started to fight amongst themselves. There was havoc and death and it was a very sad situation. Some of those who were fortunate enough to be alive, escaped the plundering by hiding in the jungle. It so happened that the young hunter's wife also escaped and a short time later gave birth to a child.
Eventually the hunting party returned and they were remorsely disappointed at such misfortune. They decided to go their separate ways and set up families elsewhere. The young hunter took his wife and child and left the village. After a short while, they arrived at a clearing near a river bank. All of a sudden the hunter's dog caught sight of a Tempadau (wild cow) and chased after it, closely followed by the hunter. By now the hunting dog had caught up with the Tempadau which was wading across the river. Suddenly there was a voice from the top of the hill admonishing them to stop their hunt.
The young man, already frustrated with what had happened back at the village, was in no mood for such a warning. He still followed his hunting dog. A bolt of lightning struck, followed by a thun 'en They have unknowingly trespassed onto holy ground and were immediately turned into stones.
Till today the young man is known as the Batu Balingoi. The Tempadau in the middle of the river is called the Batu Masokoh. The wife and child who followed behind are called the Batu Magibah.
This all happened along the Sungai Pagalan and the stones can still be found there in the river at Tenom.
There was a young hunter among them who went on a hunting trip with other villagers. He had to leave his family and his pregnant wife behind at the long house.
In those days, a hunting trip usually took many weeks, as they had to poach and wait, or very often penetrate far into the jungle.
During their absence, the village folk discovered a python on the bank of the river. They immediately killed it for food. The remains of the skin were used to make big and small drums.
It had been quite a while since the hunting group had left the village and there was still no sign of their return.
Out of boredom, the villagers decided to hold a feast. Feasting was very common amongst them and it was part of their tradition as well. They began to celebrate with meat from this huge python. They had plenty of food to eat and to share.
Usually light entertainment, such as dancing and singing were performed during such a celebration. This was accompanied by playing the drums which were made from the skin of the snake. However, the moment they hit the drums, the cats and dogs began to fight with each other. Even though they tried, but somehow, the villagers could not stop half way during the celebration. They decided to change to the other drums also made from the snake skin.
This time, the sound of the drums caused an evil sort of spell and the villagers started to fight amongst themselves. There was havoc and death and it was a very sad situation. Some of those who were fortunate enough to be alive, escaped the plundering by hiding in the jungle. It so happened that the young hunter's wife also escaped and a short time later gave birth to a child.
Eventually the hunting party returned and they were remorsely disappointed at such misfortune. They decided to go their separate ways and set up families elsewhere. The young hunter took his wife and child and left the village. After a short while, they arrived at a clearing near a river bank. All of a sudden the hunter's dog caught sight of a Tempadau (wild cow) and chased after it, closely followed by the hunter. By now the hunting dog had caught up with the Tempadau which was wading across the river. Suddenly there was a voice from the top of the hill admonishing them to stop their hunt.
The young man, already frustrated with what had happened back at the village, was in no mood for such a warning. He still followed his hunting dog. A bolt of lightning struck, followed by a thun 'en They have unknowingly trespassed onto holy ground and were immediately turned into stones.
Till today the young man is known as the Batu Balingoi. The Tempadau in the middle of the river is called the Batu Masokoh. The wife and child who followed behind are called the Batu Magibah.
This all happened along the Sungai Pagalan and the stones can still be found there in the river at Tenom.
AkiSagat Trains Children How To.....
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.
MAGUNATIP DANCE
This 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.
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.
MAGUNATIP DANCE
This 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.
The Traditional Instruments Of KadazanDusun
GONG (Idiofon)
Gongs form the backbone of most musical ensembles and are used for nearly every social event. The number of instruments played together varies from community to community. During a gong beating session, one or two drums are also played to accentuate the main rhythms.
The gongs are found in all parts of the state and are highly valued. They are also used as bridewealth, for animistic religious ceremonies, signaling and during harvest festivals.
Gongs are also recently made locally in Kudat by Rungus people. These have a shallow rim and small boss. Such gongs are made from galvanized iron sheets which are also purchased locally. The more popular gong with its thick walls, deep rim and large boss, is imported from the Philippines, Indonesia or Brunei.
KULINTANGAN (Idiofon)
This was first introduced into west Sabah by the Bruneis but it is also traditionally used by the Bajaus and some Dusun/Kadazan people. It is usually played on festive occasions, such as weddings and religious ceremonies, where it is often accompanied by other traditional gongs.
The instrument consists of a set of about eight to nine small brass kettle gongs. Each sounds a different pitch when struck. The gongs are arranged horizontally in a row on a low wooden bed-like frame. The player sits down on the floor in front of the gongs and beats them with two small wooden mallets.
TOGUNGGAK' (Idiofon)
Known as tagunggak amongst the Murut, togunggak amongst lhe Dusun/Kadazan or 'togunggu' in Penampang, these struck bamboo idiophones are played in groups to accompany dancing or processions at festive occasions. One set comprises from six (togunggu') to thirty (tagunggak) pieces, depending on the ethnic group. The music resembles that of the set of gongs of the particular group, with each idiophone tuned according to the corresponding gong part it plays.
SOMPOTON (Erofon)
This mouth organ is the most fascinating of the Sabah native musical instruments. It is constructed from a dried gourd and eight bamboo pipes arranged in a doublelayered raft. One of the pipes has no sound, but merely balances the bundle. By blowing or sucking the gourd's mouth, the player can produced a soft sweet harmonious sound. A small lamella of polod palm (like tiny bungkau) is inserted in the side of each sounding pipe near its base. The pipes are fitted into a hole on one side of the gourd and sealed with bees wax. The lamellae lie inside the gourd and provide the sound of the completed instrument. The pipes are bound with thin strands of rattan.
While playing a sompoton, the player covers and uncovers the ends of three of the four shortest pipes with three fingers of his right hand and three small openings cut in the base of the front shortest pipe and front and back pipes of the longer raft with fingers of the left hand.
The sompoton can be played as a solo instrument for personal entertainment or in groups to accompany dancing. It is popular among the Dusun/Kadazan.
BUNGKAU (Free Aerophone)
This jaw's harp is made from the outer skin of a palm known as polod among the Dusun/Kadazan. A skilful hand is needed to fashion a good one. They are commonly made throughout Dusunic areas.
The lamella in the centre is made to vibrate by striking the end of the instrument with the thumb. The vibrating strip makes very little sound by itself, but if held before the opened mouth, the player can gently magnify the sound by resonance. A wide range of frequencies can be obtained by varying the shape of the mouth and the position of the tongue.
When not in use, it is usually encased in and attached to a bamboo tube to keep it clean and free from damage.
Gongs form the backbone of most musical ensembles and are used for nearly every social event. The number of instruments played together varies from community to community. During a gong beating session, one or two drums are also played to accentuate the main rhythms.
The gongs are found in all parts of the state and are highly valued. They are also used as bridewealth, for animistic religious ceremonies, signaling and during harvest festivals.
Gongs are also recently made locally in Kudat by Rungus people. These have a shallow rim and small boss. Such gongs are made from galvanized iron sheets which are also purchased locally. The more popular gong with its thick walls, deep rim and large boss, is imported from the Philippines, Indonesia or Brunei.
KULINTANGAN (Idiofon)
This was first introduced into west Sabah by the Bruneis but it is also traditionally used by the Bajaus and some Dusun/Kadazan people. It is usually played on festive occasions, such as weddings and religious ceremonies, where it is often accompanied by other traditional gongs.
The instrument consists of a set of about eight to nine small brass kettle gongs. Each sounds a different pitch when struck. The gongs are arranged horizontally in a row on a low wooden bed-like frame. The player sits down on the floor in front of the gongs and beats them with two small wooden mallets.
TOGUNGGAK' (Idiofon)
Known as tagunggak amongst the Murut, togunggak amongst lhe Dusun/Kadazan or 'togunggu' in Penampang, these struck bamboo idiophones are played in groups to accompany dancing or processions at festive occasions. One set comprises from six (togunggu') to thirty (tagunggak) pieces, depending on the ethnic group. The music resembles that of the set of gongs of the particular group, with each idiophone tuned according to the corresponding gong part it plays.
SOMPOTON (Erofon)
This mouth organ is the most fascinating of the Sabah native musical instruments. It is constructed from a dried gourd and eight bamboo pipes arranged in a doublelayered raft. One of the pipes has no sound, but merely balances the bundle. By blowing or sucking the gourd's mouth, the player can produced a soft sweet harmonious sound. A small lamella of polod palm (like tiny bungkau) is inserted in the side of each sounding pipe near its base. The pipes are fitted into a hole on one side of the gourd and sealed with bees wax. The lamellae lie inside the gourd and provide the sound of the completed instrument. The pipes are bound with thin strands of rattan.
While playing a sompoton, the player covers and uncovers the ends of three of the four shortest pipes with three fingers of his right hand and three small openings cut in the base of the front shortest pipe and front and back pipes of the longer raft with fingers of the left hand.
The sompoton can be played as a solo instrument for personal entertainment or in groups to accompany dancing. It is popular among the Dusun/Kadazan.
BUNGKAU (Free Aerophone)
This jaw's harp is made from the outer skin of a palm known as polod among the Dusun/Kadazan. A skilful hand is needed to fashion a good one. They are commonly made throughout Dusunic areas.
The lamella in the centre is made to vibrate by striking the end of the instrument with the thumb. The vibrating strip makes very little sound by itself, but if held before the opened mouth, the player can gently magnify the sound by resonance. A wide range of frequencies can be obtained by varying the shape of the mouth and the position of the tongue.
When not in use, it is usually encased in and attached to a bamboo tube to keep it clean and free from damage.
TRADITIONAL COSTUME OF THE PENAMPANG KADAZAN
Generally, the trimmings and embroidery on the Kadazan costume are simple and dignified in comparison with other ethnic groups. The men’s jacket and trousers bear some Chinese influence. There are three different styles of blouses for the women. One is a blouse with short sleeves worn by young ladies. Another is a blouse with ¾ sleeves worn by middle-aged ladies for daily or casual use. The third one is worn by elderly women and female ritual specialists/priestesses during ceremonies.
Textile
Basic material: Black commercial fabric: silk or velvet for ceremonial occasions, cotton (vernacular tuit) for daily wear.
Costume of Women
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 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:
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).
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
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.
Apa yang baru dalam AkiSagat Team
AkiSagat Team telah melakukan 'renovation' pada pentas latihan persembahannya (Gambar akan sya cuba upload. Sori tak kuat internet) Jadi, apa yang boleh sya describe ialah pentas itu menjadi sangat besar dan lebih selesa dan selamat berbanding dulu.
AkiSagat Team juga telah menerima penyata bank yang pertamanya. Jumlah wang yang terkumpul setakat ini adalah dalam RM500. Ini masih jauh daripada sasaran kumpulan ini untuk memperkuatkan lagi kewangan kumpulan.
AkiSagat Team memecahkan kumpulan dewasa dan kumpulan kanak-kanak. Kumpulan yang lebih senior akan melakukan persembahan pada perayaan yang kurang rasmi manakala golongan kanak-kanak akan memonopoli perayaan rasmi.
AkiSagat Team berjaya memperolehi Keyboard Yamaha PSR E403 sebagai instrumen moden bagi tujuan persendirian ataupun komersial.
Apapun, ini merupakan perkembangan yang positif yang mana kumpulan ini mula mendapat perhatian daripada masyarakat umum.
AkiSagat Team juga telah menerima penyata bank yang pertamanya. Jumlah wang yang terkumpul setakat ini adalah dalam RM500. Ini masih jauh daripada sasaran kumpulan ini untuk memperkuatkan lagi kewangan kumpulan.
AkiSagat Team memecahkan kumpulan dewasa dan kumpulan kanak-kanak. Kumpulan yang lebih senior akan melakukan persembahan pada perayaan yang kurang rasmi manakala golongan kanak-kanak akan memonopoli perayaan rasmi.
AkiSagat Team berjaya memperolehi Keyboard Yamaha PSR E403 sebagai instrumen moden bagi tujuan persendirian ataupun komersial.
Apapun, ini merupakan perkembangan yang positif yang mana kumpulan ini mula mendapat perhatian daripada masyarakat umum.
Jadual Kelas Latihan AkiSagat Team
Kepada sesiapa yang berminat untuk 'join da club', kami mengalu-alukan kedatangan anda samada sebagai peserta atau sebagai penonton atau 50:50.
Masa latihan adalah seperti berikut:
Setiap Hari Sabtu, Jam 4.00 pm.
Tempat di kediaman Encik MB Paulinus di hujung kampung Biau di tepi sungai...
Pakaian adalah bebas, yang penting sopan dan standard...
Guru yang akan menjadi mentor adalah Jude, Echo, Encik MB, Pn. Vianny dan Encik Muin.
Jadual ini adalah setakat yang paling update.
Sebarang perubahan akan dinyatakan kemudian...
Makan dan minum adalah percuma dan ringan-ringan sahaja.... kalau ada yang nak contribute atau pot-luck adalah dialu-alukan...
Masa latihan adalah seperti berikut:
Setiap Hari Sabtu, Jam 4.00 pm.
Tempat di kediaman Encik MB Paulinus di hujung kampung Biau di tepi sungai...
Pakaian adalah bebas, yang penting sopan dan standard...
Guru yang akan menjadi mentor adalah Jude, Echo, Encik MB, Pn. Vianny dan Encik Muin.
Jadual ini adalah setakat yang paling update.
Sebarang perubahan akan dinyatakan kemudian...
Makan dan minum adalah percuma dan ringan-ringan sahaja.... kalau ada yang nak contribute atau pot-luck adalah dialu-alukan...
AkiSagat Team Di Koposizon Homestay 26 Julai 2009
Pada hari tersebut, AkiSagat Team sekali lagi berpeluang untuk melibatkan diri dalam persembahan 'Sumazau' dan 'Magagung' di Balairaya Papaga Papar. Kehadiran pelancong asing ke program homestay ini memberikan peluang kepada kumpulan ini untuk terus hidup dan diiklankan di mata antarabangsa.
Sungguhpun H1N1 agak 'famous' pada ketika ini, ini tidak menghalang kami untuk rapat dengan pelancong asing yang agak ramah dengan penduduk di sini. Persembahan AkiSagat Team semakin mematangkan fikiran para kanak-kanak yang menjadi ahli AkiSagat Team di mana setiap pengalaman yag dilalui menjadi pedoman serta keseronokan di samping kepuasan tak terhingga di kalangan mereka.
Antara pengisian homestay pada kali ini semestinya memperkenalkan kebudayaan masyarakat Kadazan di sini terutama sekali tarian tradisional dan juga makanan. Tidak lupa juga aktiviti lain-lain seperti mencari 'butod' dan juga 'menggarus' pokok rumbia untuk mendapatkan sagu.
Akhir sekali aktiviti yang dilakukan adalah tidak lain dan tidak bukan adalah sesi menggambar... Hohoho... Bukan main lagi mem 'posing' semuanya.... Kalah artis beb... Sya saja yang tiada dalam gambar... Huhu....
Sya fikir sekian sahaja lah laporan saya pada hari ini memandangkan internet semakin inda kuat... Thanks 4 reading!!! Aramai Tie!!!
Sungguhpun H1N1 agak 'famous' pada ketika ini, ini tidak menghalang kami untuk rapat dengan pelancong asing yang agak ramah dengan penduduk di sini. Persembahan AkiSagat Team semakin mematangkan fikiran para kanak-kanak yang menjadi ahli AkiSagat Team di mana setiap pengalaman yag dilalui menjadi pedoman serta keseronokan di samping kepuasan tak terhingga di kalangan mereka.
Antara pengisian homestay pada kali ini semestinya memperkenalkan kebudayaan masyarakat Kadazan di sini terutama sekali tarian tradisional dan juga makanan. Tidak lupa juga aktiviti lain-lain seperti mencari 'butod' dan juga 'menggarus' pokok rumbia untuk mendapatkan sagu.
Akhir sekali aktiviti yang dilakukan adalah tidak lain dan tidak bukan adalah sesi menggambar... Hohoho... Bukan main lagi mem 'posing' semuanya.... Kalah artis beb... Sya saja yang tiada dalam gambar... Huhu....
Sya fikir sekian sahaja lah laporan saya pada hari ini memandangkan internet semakin inda kuat... Thanks 4 reading!!! Aramai Tie!!!
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